Progressive Rock Multinational 2000s (Tracks) Porcupine Tree – “Anesthetize”

Progressive Rock Multinational 2000s (Tracks)

Porcupine Tree (Multinational, more specifically Australia, U.K.)

“Anesthetize” (written by Stephen Wilson) track number 3, track included on the album “Fear Of A Blank Planet” 

Released on Roadrunner Records (RR 8011-2) in 2007

Written in London and Tel Aviv between Jan-July 2006
Recorded between Oct-Dec 2006
Recorded at No Man’s Land, Bourne Place, New Rising, The Artillery, Nightspace, Mark Angelo, Red Room Recorders, DGM.

String arrangements recorded at Angel Studio.

Lyrics :

A good impression of myself
Not much to conceal
I’m saying nothing
But I’m saying nothing revealed
I simply am not here
No way I should appear happy
Stop whining please
Because of who we are
We react in mock surprise
The curse off, there must be more
So don’t breathe here
Don’t leave your bags
I simply am not here
No way I should appear happy
Stop whining please
The dust in my soul
Makes me feel awake in my legs
My head in the clouds
And I’m zoning out
I’m watching TV
But I find it hard to stay conscious
I’m totally bored
But I can’t switch off
Only apathy from the pills in me
Its all in me, all in you
Electricity from the pills in me
Its all in me, all in you
Only eMpTV, cod philosophy
We’re lost in the mall
Shuffling through the stores like zombies
What is the point
What can money buy
My hand’s on a gun
And I find the range, God, tempt me
What did you say
Think I’m passing out
Only apathy from the pills in me
Its all in me, all in you
Electricity from the pills in me
Its all in me, all in you
Only eMpTV, cod philosophy
All the apathy from the pills in me
Its all in me, all in you
Electricity from the pills in me
Its all in me, all in you
Water so warm that day (water so warm that day)
I counted out the waves (I counted out the waves)
As they broke into
The water so warm that day
I was counting out the waves
And I followed their short life
As they broke on the shoreline
I could see you
But I couldn’t hear you
You were holding your hat in the breeze
Turning away from me in this moment
You were stolen as black across the sun
Water so warm that day (water so warm that day)
I counted out the waves (I counted out the waves)
As they broke into shore (as they broke into shore)
Songwriters: Steven John Wilson
Track Listing :
Studio Album, released in 2007
1. Fear of a Blank Planet (7:28)
2. My Ashes (5:07)
3. Anesthetize (17:42)
4. Sentimental (5:26)
5. Way Out of Here (7:37)
6. Sleep Together (7:28)Total Time: 50:08
Line-up/Credits :
Steven Wilson / vocals, guitar, piano, keyboards, string arrangements, mixing
Richard Barbieri / keyboards, synthesizers
Colin Edwin / bass guitar
Gavin Harrison / drums, percussionWith:
Alex Lifeson / guitar solo (3)
Robert Fripp / soundscapes (5)
John Wesley / backing vocals
Dave Stewart / string arrangements & orchestration
London Session Orchestra / strings
Gavyn Wright / orchestra leader

Production :

Porcupine Tree – producers

Steven Wilson – mixing, audio mastering, string arrangements

Dave Stewart – string arrangements

Steve Price – engineer

Lasse Hoile – photography

Formed in 1987 in Hemel Hempstead, Hertfordshire – Suspended activity since 2010

The band started as a solo project of singer-songwriter-guitarist STEVEN WILSON who, back in the early nineties, released a series of increasingly spaced-out ambient excursions. PT is one of the most innovative bands in prog today combining intense musicianship, unconventional composition and superb studio production. They are unquestionably one of the UK’s most inspired and inventive rock groups.

The bands 4th studio album from ’96. “Signify” saw Porcupine Tree truly gell as a studio band producing a blend of psychedelia, heavy rock, melancholic pop, kraut rock, and wild experimentation that brought the best out of each band member. Their latest two albums (“Stupid Dream” and “Lightbulb Sun”) move the band further away from their influences and into their own catagory, by which other bands eventually will be compared. But if you are a fan of progressive, thoughtful, briliantly executed and flawlessly produced music, you will do no better than PT.

PORCUPINE TREE’s eighth studio album, “Deadwing”, was released in March 2005 by Lava Records / Warner Music. Less rock-oriented than the previous album “In Absentia”, “Deadwing” is partially based on a “surreal ghost story” screenplay written by Steven and sometime PORCUPINE TREE / NO-MAN art collaborator Mike Bennion. The 60-minute, nine-track album contains material varying from short airplay-friendly songs such as ‘Shallow’ to lengthier pieces like the 10-minute-plus ‘Arriving Somewhere But Not Here’. Most of the music was written by Steven but the album features the largest amount of full-band compositions since “Signify” in 1997. The album also features guest appearances by Adrian Belew (KING CRIMSON) and Mikael Åkerfeldt (OPETH).

In 2007 the band scored it’s biggest chart success to date with “Fear Of A Blank Planet”. Featuring contributions from Alex Lifeson and Robert Fripp it made the album charts in both the UK and USA and saw them play to larger and larger crowds on the subsequent world tour. This uplift in fortunes was due in part to the band signing to Roadrunner Records who really got behind the band. In 2009 the band released “The Incident” their most ambitious work to date and also their most successful, charting highly in the UK, USA and across Europe.

Porcupine Tree were an English rock band formed by musician Steven Wilson in 1987. The band began essentially as a solo project for Wilson, who created all of the band’s music. By late 1993, however, he wanted to work in a band environment, bringing on frequent collaborators Richard Barbieri as keyboardist, Colin Edwin as bassist, and Chris Maitland as drummer to form the first permanent lineup. With Wilson as lead vocalist and guitarist, this remained the lineup until February 2002, when Maitland left the band and Gavin Harrison was recruited to replace him.

Porcupine Tree’s early sound evoked a style of psychedelic rock comparable to that of progressive rock band Pink Floyd. Upon signing with Kscope record label in the late 1990s, the band approached a more mainstream alternative rock sound. By the early 2000s, the band had signed to a major record label and shifted their sound again, this time in a more progressive metal direction.

After the release and tour in support of their tenth studio album, The Incident, their biggest commercial success to date, the band became inactive as Wilson committed himself to his solo work, and other members began working on their own separate projects. Wilson hasn’t ruled out a reformation, but has no particular plans for it either.

During a career spanning more than 20 years, Porcupine Tree earned critical acclaim from critics and fellow musicians, developed a cult following, and became an influence for new artists. However, their work mostly stayed away from mainstream music, being described by publications such as Classic Rock and PopMatters as “the most important band you’d never heard of.”

Porcupine Tree was born in 1987 as an outlet for the home studio explorations of Steven Wilson (born in London, 3rd November 1967) into psychedelic, experimental and progressive music. In fact Wilson had already been making music for several years prior to this and was a musically precocious teenager who taught himself to play guitar and keyboards. His early tape releases with bands such as Altamont and Karma had already become known in the musical underground although Wilson later described the fact that these tapes had become collectable amongst his fans (largely because of the inclusion of early versions of later P.T. tracks like “Nine Cats”, “Small Fish” and “This Long Silence”) as “a bit like a painter having his nursery school blots exhibited”.

In 1987 Wilson started the 2 projects that would take him into the professional music world. The first of these was an art-rock trio NO-MAN formed with singer Tim Bowness and violinist Ben Coleman. But the second began life almost as a joke between two friends. SW and his friend Malcom Stocks developed an almost entirely fictional history of a legendary seventies group complete with non-existent band members and an absurd discography this was The Porcupine Tree.

To back up the story Steven recorded several hours worth of music supposedly by this imaginary band. This was all done as pure self indulgence but by early 1989 Steven rated some of the music highly enough to compile a cassette “Tarquin’s Seaweed Farm” and sent out copies to people that he felt might be interested. One of them went to the underground UK magazine Freakbeat, run by Richard Allen and Ivor Trueman. Unknown to Steven at the time they were in the process of setting up their own record company. Despite the fact that they gave the tape a rather lukewarm review in the magazine they invited Porcupine Tree to contribute a track to their first release, a compilation album of the best underground psychedelic groups.

This was ultimately to take another 18 months or so to come to fruition and in the meantime Steven began to distribute Porcupine Tree’s music in the form of “Tarquin’s Seaweed Farm” and it’s follow up “The Nostalgia Factory”, both complete with booklets containing the imaginary history and other misleading information. These tapes built up an underground interest in the name which was added to by the eventual release of the newly named Delerium record label’s first compilation album “A Psychedelic Psauna” which featured the Porcupine Tree track “Linton Samuel Dawson”. Delerium also reissued the first 2 Porcupine Tree tapes. Shortly afterwards Steven was invited by the new label to be one of the first artists to sign to the Delerium label. The original invitation was to reissue both the tapes as double albums, but Steven decided instead to compile the best material onto one double album which became “On the Sunday of Life…”, the 3rd release on the new label (most of the remainder of the music from the original eventually emerged on the “Yellow Hedgerow Dreamscape” album). “On the Sunday of Life…” was issued in early 1992 in a small run of 1000 copies in a deluxe gatefold sleeve. Such was the interest from the press and public that this small run sold out almost immediately and was repressed along with a CD version. Among other tracks the album contained a future Porcupine Tree classic and frequent concert encore in “Radioactive Toy”. By 2000 “On the Sunday of Life…” had racked up sales of 20,000 copies.

While this was happening Steven’s other group NO-MAN had signed a record deal with One Little Indian (home of Bjork and The Shamen among others) and were beginning to release records to an ecstatic press response. It was NO-MAN that allowed Steven to give up his day job in the computer industry and become a full time professional musician and therefore dedicate even more time to his “side project”. As the first Porcupine Tree album had been very much a self indulgent and in some ways nostalgic look back at Steven’s favourite music from the 60’s and 70’s he felt in order to take the project forward it was important to develop the sound into new and more contemporary areas. The first fruits of these new sessions was a 30 minute single that fused the Orb (then the biggest thing in music) and liquid rock guitar soloing, all strung together with a narrative taken from sixties LSD propaganda LPs. It was a major underground hit, reaching the UK independent Top 20 and a perfect representation of how the dissolution of boundaries between genres characterised the best music of the nineties.
In fact “Voyage 34” was a track recorded for another prospective Porcupine Tree double album “Up the Downstair”. However, when the album eventually emerged in mid 1993 the decision not to include the single had
slimmed down the album to a single record. “Up the Downstair” was greeted with rapture, Melody Maker describing it as “a psychedelic masterpiece…. one of the albums of the year”. The album continued the fusion of dance and rock and also featured guest appearances from two future full-time Porcupine Tree members Richard Barbieri (ex-Japan) and Colin Edwin.

In November of 1993 “Voyage 34” was reissued alongside an additional 12 inch remix by Astralasia. With non-existent radio play it still managed to enter the NME indie chart for six weeks and became an underground chill-out classic.

The profile of Porcupine Tree had now grown to the extent that the question of live performances could no longer be ignored. Thus in December 1993 Porcupine Tree became a live unit featuring in addition to Steven, Colin Edwin (bass) Chris Maitland (drums) and Richard Barbieri (keyboards). All three new members of the group had worked with Steven on various projects over the preceding years and all were excellent musicians sympathetic to the sound and direction of Porcupine Tree. The new line up had an immediate chemistry as illustrated by the “Spiral Circus” album (issued on vinyl only in 1996) which contained recordings from their first ever 3 performances, including a BBC Radio One session for Mark Radcliffe, who was an early champion of the group.

New music was already underway. The next album would not emerge until early 1995, but was preceded by the classic single “Stars Die / Moonloop”, the last 2 tracks to be recorded during the album sessions and the first to feature the new band. The subsequent album “The Sky Moves Sideways” was as expansive soundscape of melody and ambient rock experimentation, but would prove to be a transitional work with half recorded before the formation of the band and half recorded after. Most of the album was taken up with the 35 minute title track, which at one point Steven intended to be long enough to occupy the whole album ! It also entered the NME, Melody Maker and Music Week charts. Together with the “Moonloop” EP, this album became the first Porcupine Tree music to be issued in America in the autumn of 1995 and attracted very favourable press on both sides of the Atlantic. The band supported the album with numerous gigs throughout the year at major venues in the UK, The Netherlands, Italy and Greece.
Partly unsatisfied with the half band/half solo nature of “The Sky Moves Sideways”, Porcupine Tree promptly got down to the task of recording the first proper band record and worked sporadically over the next year on developing a tighter and more ambitious rock sound.

May 1996 saw the release of the first fruits of these sessions, the single “Waiting” which entered all UK indie charts and the UK National chart attracting airplay all over Europe. It was followed by “Signify” the first album to fully reflect the powerful live sound of the band, blending together numerous rock, and avant-garde styles whilst absorbing many diverse influences and relying on none. A large amount of major European Press followed the release, with the UK’s Q magazine describing “Signify”, as “a powerful album”. The band went on to complete a highly successful European tour.

Porcupine Tree continued to increase in popularity abroad during 1997 and in March played to an audience of over 5,000 in Rome over three nights – all of which were recorded for the 1997 live album “Coma Divine”. This album was released as a goodbye to Delerium Records who felt they could no longer offer the kind of resources the band needed in order to continue to build their profile worldwide (however Richard Allen from Delerium continues to be involved in the day to day running of the band with his company Big Brother Management). In late 1997 the band’s first three albums were remastered and reissued. “Signify” also saw a release in the USA on Miles Copeland’s ARK 21 label.

Steven, Richard, Colin and Chris spent all of 1998 recording their fifth studio album, a release that reflected the band’s move towards a more song orientated sound. At the time of recording the band had no record deal but later that year they signed to the international Snapper/K-Scope label and in March of 1999 the album “Stupid Dream” was issued, supported by a lengthy tour of the UK, Italy, Greece, Holland, Belgium, Switzerland, Germany, France, Poland and the USA. The 3 singles taken from the album – “Piano Lessons”, “Stranger By the Minute” and “Pure Narcotic” – all achieved mainstream exposure in the USA and in Europe and appeared well placed in the UK independent charts and on radio station playlists. Although initially the album was such a departure that some older fans were unsure, it brought the band many new fans and went on to become the band’s best selling and most acclaimed release to date. The band ended 1999 with a sold out show at the Scala in London.

The time spent looking for a record deal had not been wasted and only a few months after the release of “Stupid Dream” the band were ready to begin work on a follow up, recorded during the transition into the new millennium and completed in February 2000. With string arrangements provided by Dave Gregory of XTC “Lightbulb Sun” built on the mix of songwriting, soundscaping and rock dynamics of “Stupid Dream” but developed it into something altogether more intense and organic, a band confidently in control of their sound. The album was released on May 22nd 2000, preceded by the single “Four Chords That Made a Million”. Another sold out show at the Scala in London began a short run of UK shows, to be followed later in the year by European festival dates and a major tour supporting Dream Theater.

The band continued to tour through the end of 2000 and the start of 2001, taking in Israel for the first time, as well as their first major tour of Germany. A special double CD edition of the Lightbulb Sun album was issued in Israel and Germany and in May “Recordings”, a limited edition collection of EP tracks and out-takes from the previous two albums, was released as the band’s final release under their Snapper/KScope contract. In June 2001 the band played a short US tour, culminating in a sold out show at the Bottom Line in New York City. Shortly afterwards Porcupine Tree announced that they had signed a new international record deal with Lava/Atlantic Records.

In February 2002 Porcupine Tree’s first ever line-up change occurs when drummer Chris Maitland leaves after 8 years with the band. The band welcomes new drummer and long term acquaintance Gavin Harrison to the line-up.

In March, as a major retrospective box set of the band’s early work, “Stars Die – the Delerium Years 1991-97” is released. At the same time the band commence recording their first major label album, drawing from a pool of 30 new songs written by Steven in the previous 2 years. Sessions take place in New York and London, with veteran engineer Paul Northfield (Rush, Ozzy Osbourne, Hole) and string arranger Dave Gregory also playing major roles in the making of the record. Mixing of the new album is completed in LA in May with Tim Palmer. The new line up of the band is further augmented by additional touring vocalist/guitarist John Wesley for a short pre-album release US tour in July 2002. Many venues are sold out and the shows are received rapturously by both old and new fans alike.

The eagerly awaited new album “In Absentia” is released by Lava Records in September 2002 (European release Jan 2003). It is the band’s most accomplished and complete work to date, featuring a much heavier sound on some tracks, but also some of the band’s most beautiful and fragile works. The album receives great praise worldwide and, despite little or no airplay, goes on to become the band’s best selling album shifting over 100,000 copies in it’s first year of release, and charting in several European countries. To promote the album the band undertake four further tours of Europe and North America, including one with acclaimed Swedish metal band Opeth. During these tours the visual element of the band’s performance is taken to new heights with the involvement of film-maker and photographer Lasse Hoile who creates a dark and surreal visual counterpoint to the PT’s music. The long promotional campaign for In Absentia ends on November 30th as the band play a homecoming show to a packed out London Astoria.

During 2003 Porcupine Tree also set up their own label and on-line store. The first release on the Transmission label is a studio session recorded for XM Radio, Washington. The band plan to make a series of well recorded and packaged live and studio recordings available through the label.

2004 will see the band commence work on an ambitious new Porcupine Tree album, their second for Lava/Atlantic. The album will also take the form of a film script (and therefore hopefully later a film). The band’s first DVD project is also planned for later in the year, as well as further live releases through their Transmission label.

Porcupine Tree – “Fear Of A Blank Planet” Album cover photo (front)

 

PORCUPINE TREE FEAR OF A BLANK PLANET 1

Porcupine Tree – “Anesthetize” Video file link on YouTube

Porcupine Tree – “Fear Of A Blank Planet” Full Album Playlist on YouTube

Porcupine Tree Band’s Page on Spotify

Porcupine Tree Band’s Page on Apple Music

Porcupine Tree Band’s Page on Google Music Store

Porcupine Tree Band’s Page on Facebook

Porcupine Tree Band’s Page on Discogs

Porcupine Tree Band’s Homepage

Porcupine Tree Band’s Page on Twitter

Porcupine Tree Band’s Page on Rate Your Music

Porcupine Tree Band’s Page on Deezer

Porcupine Tree Band’s Page on Amazon

Steven Wilson Artist’s Homepage

Porcupine Tree – “Anesthetize Dvd on IMDB

Porcupine Tree – “Porcupine Tree Tilburg, Netherlands – 2008”, Recorded at Poppodium 013, Tilburg, Netherlands 15/10/2008 This was the first of two shows recorded & filmed for the “Anesthetize” DVD. 01 – Intro 02 – Fear Of A Blank Planet 03 – My Ashes 04 – (Introduction) 05 – Anesthetize 06 – Sentimental 07 – Way Out Of Here 08 – Sleep Together 09 – Normal 10 – Stars Die 11 – What Happens Now 12 – Open Car 13 – Dark Matter 14 – (Steven Talking) 15 – Wedding Nails 16 – Half Light 17 – Sever 18 – (Steven Talking) 19 – Blackest Eyes 20 – Sleep With No Dreaming 21 – Halo Source – Audience Recording Quality – A Format – MP3 256kbps VBR

Porcupine Tree Band’s Page/Discography/Full Albums Download Links on Muro Do Classic Rock Blog

Porcupine Tree Band’s Page on Kscope Records

Porcupine Tree Band’s Book “Time Flies The Story of Porcupine Tree”

 

Hard Rock/Heavy Acid Rock/Proto Heavy Metal Australia 1970s (Tracks) Buffalo – “Freedom”

Hard Rock/Heavy Acid Rock/Proto Heavy Metal Australia 1970s (Tracks)

Buffalo (Sydney, New South Wales, Australia)

“Freedom”(written by Tice/Baxter) A2 track included on the album “Volcanic Rock”

Released on Vertigo Records ( 6357 101) in August 1973

Line-up/Credits :

Dave Tice – lead vocals

Peter Wells – bass

John Baxter – guitar

Jimmy Economou – drums

 

Art Direction [Art Director] – Ian Brown

Engineer – Wahanui ”Wyn” Wynyard

Executive-Producer – Dermot Hoy

Illustration – J. Phillip Thomas

Photography By – Van Der Ley, Taylor

Producer – Spencer Lee

Volcanic Rock originally issued as Vertigo 6357 101 (August 1973)

1. SUNRISE (COME MY WAY) (Album version) (Dave Tice/John Baxter)
2. FREEDOM (Dave Tice/John Baxter)
3. TILL MY DEATH (Dave Tice/John Baxter)
4. THE PROPHET (Dave Tice/John Baxter)
5. INTRO: POUND OF FLESH (John Baxter/Peter Wells)
6. SHYLOCK (Dave Tice/John Baxter)

Lyrics :

“Freedom”
Your senses are returning,
you’ll soon be on your way
the old bridges burning,
it’s your new life’s first day
so lift up your head
and rise the banner high
the older is dead and a new flag will fly.
As you travel down the highway,
and you open up your mind
and move down each byway
understand the truths you find
and remember don’t deny
another who’s in need
and there’s reason still to cry,
until every man is free.
If you open up your eyes,
you’ll understand the things moan
and someday you’ll see why
men die for their dreams
travel on to freedom, travel on to freedom
travel on to freedom, travel on to freedom
Buffalo was an Australian rock band formed in August 1971 by founding mainstay Dave Tice on lead vocals (ex-Head). Fellow founders, also from Head, were Paul Balbi on drums, John Baxter on guitar, and Peter Wells on bass guitar; together with Alan Milano on lead vocals (ex-Mandala). Milano left after their debut album, Dead Forever… (June 1972), and Balbi was replaced on drums by Jimmy Economou. Their next two albums, Volcanic Rock (July 1973) and Only Want You For Your Body (June 1974), were also issued by Vertigo Records. After 1975 line-up changes resulted in a more commercial sound and the group disbanded in March 1977. Australian musicologist Ian McFarlane noted that there was “nothing subtle about Buffalo’s primal, heavyweight sound, but it was delivered with a great deal of conviction … combining the dense, occult riffing … with the progressive blues chops … the band certainly captured the arrogant disposition of the times in a bold and thunderous fashion”. Alongside Billy Thorpe & The Aztecs and Blackfeather, Buffalo pioneered Australia’s heavy metal, pub rock and alternative rock movements. Peter Wells died on 27 March 2006, aged 58.
Buffalo were an Australian hard rock band formed in August 1971 in Sydney by founding mainstay Dave Tice on co-lead vocals (ex-Head). Fellow founders, also from Brisbane’s blues-rockers Head, were Paul Balbi on drums, John Baxter on guitar, and Peter Wells on bass guitar. Tice and Wells had been together in groups since 1966 with The Odd Colours and Strange Brew before forming Head in 1968. Head had relocated to Sydney in mid-1970, its line-up changed with the acquisition of Alan Milano on co-lead vocals (ex-Mandala) and a new musical direction led to the name change. ‘Buffalo’ was chosen (according to legend, randomly off an Australian map) as being more marketable than ‘Head’, with its sexual and drug connotations. Alongside Billy Thorpe & The Aztecs and Blackfeather, Buffalo pioneered Australia’s heavy metal, pub rock and alternative rock movements. Buffalo were the first Australian act to be signed to Vertigo Records, however they remained largely an underground band.
In May 1972 they issued their debut single, “Suzie Sunshine”, which was written by Baxter and Peter Brett. It was followed in the next month by their debut album, Dead Forever…, which was produced by Spencer Lee. Both the single and album sold well with the album sales reaching 25,000. This was despite commercial radio virtually blacklisting the band – they received little airplay prior to the emergence of public radio stations (such as Triple J and 3RRR) in the mid-1970s. Australian musicologist, Ian McFarlane, described the album’s cover as “controversial” in that it depicted “a mournful, blood-soaked face peering through the eye socket of a skull” while buyers were advised to “Play this album LOUD”. After Dead Forever… appeared, Milano left, and Jimmy Economou replaced Balbi on drums. In mid-January 1973 Buffalo supported Black Sabbath at two Sydney shows on the Australian leg of the United Kingdom heavy rockers’ Volume IV Tour. According to Australian rock music journalist, Ed Nimmervoll, “The seeds for Australian heavy rock can be traced back to two important sources, Billy Thorpe’s Seventies Aztecs and Sydney band Buffalo, who came from the Black Sabbath/Uriah Heep school, and were signed to the same label as those groups (Vertigo) in Australia”.
The four-piece line-up of Baxter, Economou, Tice and Wells recorded their next two albums, Volcanic Rock (July 1973) and Only Want You For Your Body (June 1974), with Lee producing again. Allmusic’s Eduardo Rivadavia found their second album was “about as raw as heavy metal got in the early 1970s” and “all of its crudity was absolutely intentional”. He felt that their third album had the group “honing their songwriting into far more focused and compact heavy rock nuggets”. McFarlane stated that the band had “kept up the scorching, heavy metal mayhem, with Baxter’s savage guitar work and Tice’s demented vocals well to the fore” for both albums. Their use of controversial cover artwork continued: Volcanic Rock has a “graphic yet hilarious depiction of the female form as a menstruating volcano” while Only Want You For Your Body has an “obese, screaming woman shackled to a torture rack”. Some record chains refused to stock these albums. By mid-1974 Norm Roue (ex-Band of Light) had joined on slide guitar and later that year Baxter was fired from the group. McFarlane declared they had “lost one of its most valuable and distinctive assets and its spirit simply dwindled”.

During 1975 Karl Taylor joined on guitar and a change of music direction – towards more commercially oriented hard rock to attain greater radio airplay – followed with their next album, Mother’s Choice, appearing in March 1976. Steve Danno-Lorkin at I-94 Bar website felt it was “a big move forward with the times, more traditional in the song structuring and the lyric topics”; whereas a second reviewer, The Barman, described the same album, “starts with a bang … before slowing to a plod … the music drags rather than seizes the moment”. The line-up and direction changes continued with Roue and Taylor replaced by Chris Turner (ex-Drain) on guitar and, briefly, Chris Stead was their second guitarist. Wells left before the end of the year to form another hard rock group, Rose Tattoo. Wells had “decided to form the band that became Rose Tattoo, decided on their style of boogie and blues music, and their street look, united by their tattooed bodies”.

Buffalo disbanded in March 1977 when Tice travelled to London to join local rock group, The Count Bishops alongside his former band mate, Balbi. Late the previous year, Tice and latter day Buffalo members: Economou, Turner and Ross Sims on bass guitar, had recorded a final studio album, Average Rock ‘n’ Roller, which appeared in July 1977. McFarlane was disappointed with “Buffalo’s attempt at a more commercial sound, but [it] lacked the coherent direction of their predecessors”. Danno-Lorkin felt it was “very self indulgent” and “tracks on this don’t work quite so well as instrumentally they seems a bit lacking in direction or purpose”. The Barman noted that despite its title it was “well above average” and is “more a rock effort than the blues/boogie-fuelled Mother’s Choice”.

McFarlane noted that there was “nothing subtle about Buffalo’s primal, heavyweight sound, but it was delivered with a great deal of conviction … combining the dense, occult riffing … with the progressive blues chops … the band certainly captured the arrogant disposition of the times in a bold and thunderous fashion”.  Buffalo pre-dated other early Australian hard rockers: Coloured Balls (formed March 1972), AC/DC (late 1973), The Angels (1974, as The Keystone Angels), and Rose Tattoo (late 1976). Like many pioneering heavy metal acts, Buffalo incorporated strong influences of blues-rock and psychedelic rock. The band toured across Australia, at venues ranging from school dances in tiny halls to large outdoor concerts. Heavy Planet website considers Buffalo to anticipate doom metal and stoner rock.

By the end of 1972, Australia’s legendary progressive rock heavy weights Buffalo had established themselves as a prominent force on the local rock scene. The band’s debut album Dead forever… had sold well enough yet its true significance was rating as the very first Australian release on the prestigious Vertigo imprint which gained them valuable attention overseas.

The line-up had remained stable since the band’s inception in August 1971: Dave Tice (vocals), John Baxter (guitar), Pete Wells (bass), Alan Milano (vocals) and Paul Balbi (drums). Nevertheless, they were in a curious position when it came to their live appearances, with their local gigging schedule having dropped off considerably. As writer Richard Lyones reported in Sydney-based rock paper Sound Blast(December 1972): “The amazing thing is that, despite the tremendous sales of “Dead Forever”, despite their now international standing, despite the huge crowd they pulled to Paddo Town Hall earlier this year, promoters just aren’t booking them. Despite all that proof to the contrary, some promoters say they believe Buffalo isn’t profitable.”

This seems to have hung heavy on the band’s collective minds because they almost split up before the year was over. Tice had actually joined a new band called Mr. Madness being put together by four ex-members of Sydney-based psych-pop outfit Flake. The new band commenced gigging, but then the bosses at Buffalo’s record label, Phonogram/Vertigo, wanted them to support legendary British heavy metal demi-gods Black Sabbath at two Sydney concerts (Hordern Pavilion, 16th and 17th January 1973) as part of their second Australian tour (promoting the Volume 4 album). This was an opportunity too good to miss: Sabbath was one of the biggest bands of the day and indeed the local boys had often been compared favourably to the Brit metal masters. Tice remembers finishing the support slots to Sabbath, rushing offstage, jumping into a waiting car and heading across town to fulfill his singing role with Mr. Madness for three sets a night at Chequers disco. Naturally, his long-term allegiance lay with only one band: Buffalo.

Dave Tice remembers the Black Sabbath supports as “being really important shows… After I’d split, the record company came to us and said ‘fellas, you’ve got your album out, it’s sold well, we don’t want you to split up, Black Sabbath is coming and we want you as support band’. Dead forever… had been out for a while and we were on the same label as Black Sabbath of course, Vertigo. There was some discussion about whether we were gonna do it or not and we decided to do it and thankfully it was really good. I don’t remember seeing Black Sabbath because I had to leave straight away to play with Mr. Madness, but the reception we got was exceptional. I’ve had people come up to me in recent years and they say ‘oh I remember when you guys supported Black Sabbath and you blew them away’, y’know? Now, of course that is a matter of perspective but it’s nice to have people come up to you and say that.”

“Supporting Black Sabbath was a real highlight for me!” John Baxter declares. “We played to big crowds on both nights and we went over pretty well. Unfortunately we never got to meet Sabbath. On the first night I went up to their dressing room, knocked on the door but there was nobody around. I just stuck my head in and saw Tony Iommi’s guitar. I thought, ‘I’ll go and have a look at this’. So I walked up to it and I was feeling the strings and they were like elastic bands, they felt real soft and they were probably real light strings as well. And then a roadie walked in so I had to make a quick exit (laughs). That was it, nothing was said. So at least I touched Tony Iommi’s guitar for a split second. But it was a great gig for us. For a band that never got any radio airplay, to support Black Sabbath was fantastic.”

Revitalised Spirits

With the band’s spirits revitalised, their touring schedule immediately picked up. They scored another important support slot on the national package tour by British bands Slade, Lindisfarne, Status Quo and Caravan that did the outdoor concert rounds during February. Now down to a streamlined four-piece line-up of Tice, Baxter, Wells and new drummer Jimmy Economou, Buffalo ploughed ahead with more determination than ever and commenced work on their second album at United Sound Studios. Sound Blast reported that United Sound had recently imported new quadraphonic (four-channel) recording equipment and that the first to use the facilities would be none other than Buffalo! While working with the same producer/executive producer team of Spencer Lee and Dermot Hoy, this seemed the ideal opportunity to make an impact on record, yet the quadraphonic recordings never eventuated. What did eventuate, however, is one of the band’s greatest records and essentially the first real heavy psych metal album ever issued in Australia: the absolutely blazing Volcanic Rock (Vertigo 6357 101).

The importance of Volcanic Rock can never be overstated. This is the album that established the band’s reputation for dispensing uncompromising heavy psych rock of monumental proportions; this is the album that continues to enthrall aficionados of the genre the world over.

With the new album and its single, ‘Sunrise (Come My Way)’ b/w ‘Pound of Flesh’ (Philips 6037 035) out by August, the band was regularly headlining its own gigs around Sydney and interstate. They also picked up a major support gig (alongside the La De Das, Mighty Kong, Country Radio and Hush) to Sherbet and the Aztecs at the AMCO Supershow, Liverpool Speedway in December.

Reviews of the album were positive: “Buffalo is back. And that’s good news for those who like their rock steamin’ hot and raunchy… and Australian! (The album) thumps, it bumps and grinds gut solid from go to woe. The music howls and screams all around, and over guitar and bass riffs. It’s what you would expect from Buffalo, and that makes it easy to decide about the record… The production is good too. It’s going to be compared to Black Sabbath, but what the hell, Australia needs a band like that anyway!” (Sound Blast, August 1973).

Melbourne based Go-Set magazine never really warmed to Buffalo, describing the single ‘Sunrise (Come My Way)’ as: “Heavy, solid, fast-moving rock. But sadly it sounds Sunbury ’72 – and strong music doesn’t date. The vocalist has a powerful gnawing sort of voice, earthy and interesting. But the Steppenwolf influences are too obvious. Other side, Pound of Flesh, is musically more fulfilling. There’s the steady pounding rhythmic section and a guitar which does some nice intricate things in a lively pulsating sort of way.”

Irrespective of the views at the time, there’s no denying the album’s power to this day. Buffalo had already earned a reputation as macho progressive heavies with the release of Dead forever…, but it was Volcanic Rock that cemented the legend. With its full quota of scorching, molten heavy metal, Volcanic Rock sounds as sweet as a Mach truck driving through a china shop, with twice as much crunch to boot! Tracks like ‘Sunrise (Come My Way)’ with its frenzied intro and pounding beat, ‘Shylock’ and ‘Till My Death’ typified the band’s attitude and approach: raw, hard-nosed riff rock, as dirty, loud and vicious as hell. Epic tracks like ‘Freedom’ and ‘The Prophet’ saw the band members stretching out and flexing their musical muscle. These songs are essentially loose jams built up in the studio, but that doesn’t detract from the overall impact.

An interesting point to note is that for the original album program, ‘Pound of Flesh’ and ‘Shylock’ were sequenced together as one long, two-part track.

“Oh Shylock… pay me now!”

“This is a very subjective thing, but I think tracks like ‘Shylock’, ‘Sunrise (Come My Way)’, ‘Freedom’ and ‘The Prophet’ are pretty much quintessential Buffalo tracks; they’re what I would really hang the band on, y’know?” Dave Tice explained. “They had that stream of consciousness thing going on, where we jammed them out in the studio; they are perfect examples of that. With ‘The Prophet’, John said to me recently, ‘I never realised what good lyrics you wrote Dave’, and quite religious in some ways. I guess John used to think that the lyrics, without sitting down and analysing them, were almost blasphemous and a little risqué. There is a bit of that but there’s a semi-religious content to them as well which is not so obvious. I think he discovered that himself in recent times. I don’t think he always took much notice of the lyrics whereas I used to labour over them quite a bit because I had to sing the damn things, y’know? Sometimes, with lyrics you write them down and then you’re appalled with having to deliver them. What might look good on paper might not come out so well when you sing them (laughs). But I could always make them work.”

“In my opinion ‘Shylock’ was our top live song, the song Buffalo we’re most recognised for,” Baxter confirms. “That was the song we played at every gig. That epitomised our style. I’d written the music at home and when I took it to the guys in rehearsals I said ‘look, I’ve got this idea, I don’t know, it’s not that good, do you wanna hear it?’ So Dave said ‘yeah, yeah, play it’. So I played it and they liked it. It was good that they did, otherwise I probably would have tossed it out. It became our most popular live song.”

Buffalo appeared at a concert held in Hyde Park for the Sydney Spring Festival 1973. Pop band Sherbet headlined the concert bill and Baxter remembers the day as wet and overcast. Nevertheless, Buffalo delivered an absolutely blazing rendition of the momentous ‘Shylock’ and all fans of the band will be intrigued to hear it after more than 30 years.

Baxter continues, warming to the memories: “The first album had a bit of variety on there; we were obviously still finding our way. It probably wasn’t the exact sound we were after but at the time we were happy with it. After that we went full on hard rock; no ballads. It was more my influences because I am a head banger. For Volcanic Rock we just decided to go full on, we recorded it live in the studio without any touch-ups. It was a very raw sound which is what we were aiming for. I’m not a ballad person myself. Being the main songwriter, I wrote all the music and got the songs going and then Dave would add his lyrics later. I’d bring ideas to rehearsal and then we’d jam on them and develop the songs from there. The music was up to me and that’s where we headed. The other guys were happy to head that way as well. I’m a heavy metal player; that’s what I do best.”

“The sound I developed came with the Gibson SG guitar and the Australian made Strauss Hurricane amplifier that I used; nothing else in between except occasional wah wah. It was a 200 watt RMS valve amp with two quad boxes. I used to love that amp! I’ve used Marshalls, Lennards, AC30s, all sorts of other amps and they never matched up to that Strauss amp. That amp’s gone now, I had to sell it. I also sold the SG quite a while ago. I was happy with my playing on the albums, there are little things I look back on now and think ‘it’s a pity that’s there’ or ‘I could have done a bit better there’. I think I did a pretty good job. From Volcanic Rock onwards, that four year period I was at my peak. Volcanic Rock and Only Want You for Your Body are the most representative albums when it comes to my guitar playing style.”

Wells indeed shares that opinion: “I think the best album is Volcanic Rock; we just seemed to capture a certain sound. It just seems to have survived the best. Generally speaking, just the style of playing and approach seems to make sense to me. I can’t remember that much about recording it; I’ve done a lot of recording since then so it’s very hard to remember specific recording sessions. ‘Shylock’ was always one of our gun numbers for sure. It always seemed to work when we played it live and people always liked it. If there’s any song from that era that people always focus on, that’s the one.”

Instrumentally the members of Buffalo were indeed at the top of their game on Volcanic Rock with Baxter’s savage guitar work and Wells’ throbbing, woody bass lines being real highlights, while Tice’s vocals never sounded so demented. Likewise, when drummer Economou really got wound up, there was basically no way of stopping him short of a sharp blow to the head. The album came with a fold-out illustrated lyric sheet, as well as featuring a garish and controversial gatefold cover illustration by J. Phillip Thomas: a graphic yet hilarious depiction of the female form as a menstruating volcano! To top it off, a fiery denizen of the volcano holds aloft a glowing, phallic shaped molten rock. Wonder what the feminists of the day had to say about that little lot!

“The Volcanic Rock cover, we thought it was pretty cool!” Tice laughs now. “I am surprised we got away with it at the time. From memory, there were two or three different designs put forward and the artwork that got used was the last one that the record company wanted to use (laughs). Only Want You for Your Body was the same too. The record company were shitting themselves what people might think. Ross Barlow was head of Phonogram at the time, and he was overseas when the Volcanic Rock artwork was getting put together and he sent a telex from New York or somewhere saying ‘watch what you guys put on the front cover’, y’know, and when he got back that’s what he was confronted with (laughs).”

“Our idea was to be controversial. Now those things aren’t considered controversial anymore although Volcanic Rock still has a certain amount of shock value especially to our feminist cousins. They still find it offensive and that’s good I reckon, because that’s what we were trying to do. You know, we wanted people to say ‘what the fuck is this; we’d better have a listen’. It’s the visual experience that can entice you; often you’d listen to an album because you saw something that appealed to you graphically on the cover. That’s always been very important. I continue to tell people ‘it’s no good making a great record and then sticking it in a package that no-one’s gonna take any notice of’, y’know? You might as well just hide it away. If you wanted people to take notice of you then you’d better damn well stand out!”

Baxter laughs too, but for a slightly different reason. “Volcanic Rock… That cover was a bit embarrassing to me. That demon on the volcano should have been holding a guitar above his head, I reckon, not what he was holding. I thought that was ridiculous (laughs). He should have been holding a flaming guitar. I would be much happier with that now. At the time we just thought it looked good. It did stand out; it was outlandish and caught people’s attention. That was the tactic we had to employ. No airplay, so we had to get people to listen to our music somehow. The record company was good; they didn’t push us too much. We had a very supportive and enthusiastic producer in Dermot Hoy. He saw our potential in the first place and he made the way clear for us to record our albums. With the covers, the company came up with the ideas and Ian Brown from the art department would say ‘okay, we’ll get the artwork done and we’ll okay it with you’. Usually we liked the artwork; I think the concepts were accepted straight away.”

“Some day sunrise coming my way…”

The album version of ‘Sunrise (Come My Way)’ was noteworthy, in that it’s a full minute longer than the single edit wherein the lead break mid-song had been excised for the sake of expected radio airplay. Nevertheless, it seems unlikely that anyone held out much hope for a Buffalo hit single! What’s more, the single version was in mono and noticeable for the fact that it lacked the dual lead guitar lines in the intro. Interestingly, most of the singles released by Phonogram on the blue and silver Philips label of the day were mono mixes. The mono single version of ‘Sunrise (Come My Way)’ appeared again as part of the rare Buffalo EP (Vertigo 6237 001) in 1974, alongside ‘Suzie Sunshine’, ‘Dead Forever’ and ‘Barbershop Rock’. We’ve included both the album and mono single versions here for comparison. As a reference point it’s worth noting that a tremendous live rendition of the song, recorded in October 1974 at Sydney’s Hordern Pavilion, was broadcast on the ABC-TV’s rock show GTK (Get To Know).

The 1973/74 period proved to be a busy and exciting time for Buffalo. They were on a roll, and following the release of Volcanic Rock they recorded their next album and continued to tour; however, the wind of change was howling and ructions towards the end of 1974 were set to destroy the band’s resolve and spirit.

By way of concluding this portion of the Buffalo story, Tice says “I still love those Buffalo albums. For a long time I didn’t listen to them. I couldn’t listen to them, I’d moved on. As you progress through your musical career there’s a time where you look back with disdain at what you did previously. You hope that you’re progressing, getting better at what you do. What I tended to hear when I did listen to the albums was the things I wasn’t happy with, the things that I thought were mistakes. I’d think, ‘I could have done that a bit better’ or ‘I didn’t hit the note quite right there’, y’know? You need a bit more distance to have perspective on these things. I’ve got a lot more perspective on it now; I can enjoy them again now. I can see them for what they were; I don’t need to justify them now. Also, you become more at ease with these kinds of things with the weight of other people’s opinions, you know what I’m saying?”

“I listen to the albums now and say ‘okay, we were young guys but the noises we made then are still being appreciated today’. And that continues to amaze me but I can see why now. Once upon a time I couldn’t see that. You’re too close to it, but you can’t divorce yourself completely from something that is really an expression of your personality at the time. If you have reason to want to put that behind you, it becomes a bit of an embarrassment. That might be a bit of a harsh word, but you know what I’m saying. You might think, ‘how could I have been so naïve?’ It’s got nothing to do with your technical ability as a singer or musician, but your perception of the world and how you relate to it does change drastically over time. I can look back and say ‘well it still stands up, I don’t have to be embarrassed by it, I think it’s fucking good work’, y’know? I hear myself singing and I think, ‘fuck Dave, you’re really not a bad singer at all’. There are some good songs there and thankfully I can see it within the context of which it was done.”

Wells is likewise down to earth when he states, “I’m not sure why the music still stands up. It’s a range of different things. I always ask people about that, younger people who have only been into the music for the last decade or so. I ask them, ‘well, why do you like the music’ and they say that it reminds them of a bunch of newer bands that have that same style. They just like it. Personally, I’ve got no idea why people still like the music. It’s a bit of a mystery to me really. There’s just a certain quality about the sound that appeals. It’s usually fans of that style of music and they’ve got all sorts of collectable records, they’re very enthusiastic about the music and they just go out of their way to collect it. They’re very keen on the music across the board.”

“I’ll be interested to see the reaction to these new CDs,” Wells concedes. “I don’t know if people will buy them. Will the old guys like them, will the young kids like them? I’m just interested to see who will buy them and who will relate to them. It’s all a bit of a mystery to me. Dave still works all the time, so do I, but the other guys who were in the band don’t play much now, so it’ll be interesting to see what everyone makes of the albums. There are the real record enthusiasts who will like the CDs, but the general record buying public couldn’t care less I’m sure.”

 

Buffalo – “Volcanic Rock” Album cover photo (front)

buffalo volcanic rock 1

buffalo volcanic rock 2

Buffalo – “Volcanic Rock” Album artwork

buffalo volcanic rock 3

Buffalo – “Freedom” Video file link on YouTube

Buffalo – “Volcanic Rock Full Album Video Playlist on YouTube

Buffalo – “Volcanic Rock” Full Album Audio file link on Spotify

Buffalo Band’s Page on Discogs

Buffalo – “Volcanic Rock” Full Album Download file link on Rockasteria Blog

Buffalo Band’s Page/Discography/Full Albums Download Links on Muro Do Classic Rock Blog

Buffalo Revisited Band’s Page on Facebook

 

 

7/12-inch Singles/E.P.s Alternative/Experimental/Indie Rock Australia 1980s Laughing Clowns – “Eternally Yours”

7/12-inch Singles/E.P.s Alternative/Experimental/Indie Rock Australia 1980s 

Laughing Clowns (Sydney, Australia)

12-inch E.P.

“Eternally Yours” (written by Ed Kuepper) A’ Side track included on the 12-inch E.P. “Eternally Yours”

Released on Hot Records (HOT 12001) in  March 1984

Lyrics :

I see the light it shines on you
I see the legend, you see it to
I see your reason and why you hold your point of view
And with your split personality
I thought you’d show independence there
Well no quite so when there was room for everyone
You see the knife you feel the pain
I’ve heard it time and time again
These must be times I’ve hit but missed, an empty kiss
I’ve seen the legend that suits you
I’ve seen your reasons, your point of view
There must be more you that can do when your loves in vein
You’ve seen the knife, you’ve felt the pain
I’ve heard it time and time again
These must be times I’ve hit but missed, an empty kiss
Songwriters: Ed Kuepper
Line-up/Credits :

Arranged By – Laughing Clowns

Bass – Peter Walsh

Cover – Judi Dransfield

Drums – Jeffrey Wegener

Engineer – Ian Davies

Guitar, Vocals – Edmund Kuepper

Saxophone – Louise Elliott

Words By, Music By, Producer – E. Kuepper

 

Laughing Clowns – “Eternally Yours” A’ side E.P. Photo

laughing clowns eternally yours 1

 

Laughing Clowns – “Eternally Yours” Video file link on YouTube

Laughing Clowns Band’s Page on Facebook

Laughing Clowns Band’s Page on Spotify

Laughing Clowns Band’s Page on Discogs

Ed Kuepper Artist’s Page on Bandcamp

Ed Kuepper Artists’ Page on Facebook

7/12-Singles/E.P.s Classical/Ost/Stage And Screen/Theme 1970s John Christopher Williams – ” Cavatina”

Classical/Ost/Stage And Screen/Theme 1970s

John Christopher Williams (Melbourne, Australia)

Instrumental

Cover Version

” Cavatina” (written by Stanley Myers) B’ Side single released on Cube Records (BUG 80) on 30th June 1978

Cavatina” is a 1970 classical guitar piece by British composer Stanley Myers written for the film The Walking Stick (1970), and popularised as the theme from The Deer Hunter some eight years later. As the Italian diminutive of cavatacavatina is a musical term frequently applied to any simple, melodious air.

John Williams – “Cavatina” B’ Side single photo

john williams cavatina photo

John Christopher Williams – “Cavatina” Video file link on YouTube

John Christopher Williams Artist’s Homepage

John Christopher Williams – Artist’s Interview file link on Classical Guitar Magazine

John Christopher Williams Artist’s Page on Facebook

John Christopher Williams Artist’s Page on Discogs

 

 

 

 

 

 

7/12-inch Singles/E.P.s Alternative/Experimental/Indie/Punk Rock Australia 1970s The Saints – “This Perfect Day”

7/12-inch Singles/E.P.s Alternative/Experimental/Indie/Punk Rock Australia 1970s

The Saints (Brisbane, Australia) 

“This Perfect Day” (written by Chris Bailey, Ed Kuepper) A’ Side single released on EMI Records (EMI-11529) on 29th August  1977

Line-up/Credits :

Bass – Kym Bradshaw

Drums – Ivor Hay

Guitar – Ed Kuepper

Producer – Rod Coe

Vocals – Chris Bailey

Lyrics :

Don’t talk to me about what you done
Ain’t nothing has changed, it all goes on
And they’ll keep laughing till the end
I’ve seen them drive around in cars
All look the same, get drunk in bars
And don’t talk back, we got no social rights
Oh, perfect day
What more to say?
Don’t need no one to tell me what I don’t already know
We got no high times, always flat
If you go out, you don’t come back
It’s all so funny I can’t laugh
Oh, perfect day
What more to say?
Don’t need no one to tell me what I don’t already know
Don’t talk to me about what’s you done
Ain’t nothing has changed, it all goes on
And they’ll keep laughing till the end
Oh, perfect day
What more to say?
I don’t need no one to tell me what I don’t already know
Don’t need nothin’
Don’t need no one
Songwriters: C. Bailey / E. Kuepper
The Saints – “This Perfect Day” A’ Side single photo (Australian Edition)

THE SAINTS THIS PERFECT DAY SINGLE 1

The Saints – “This Perfect Day” Video file link on YouTube

The Saints – Band’s Chronology Page link on “From The Archives”

The Saints Band’s Page on Facebook

The Saints Band’s Homepage

The Saints Informative Page about the band on “Punk 77”

The Saints Band’s Page on Discogs

Canterbury Scene/Fusion/Jazz Rock/Progressive Rock Multinational 1970s (Tracks) Gong – “Esnuria”

Canterbury Scene/Fusion/Jazz Rock/Progressive Rock Multinational 1970s (Tracks)

Gong (Multinational, Australia, Fiji, France, U.K., U.S.A.)

Instrumental Music

“Esnuria” (written by Moerlen) B2 track included on the album “Gazeuse!” (their seventh album)

Released on Virgin Records (V 2074) in 1976

Line-up/Credits :

Didier Malherbe / tenor sax, flute
Francis Moze / fretless bass, acoustic & electric pianos, gong

Pierre Moerlen / drums, glockenspiel & vibes, marimba & timpani
Mireille Bauer / marimba, vibraphone, glockenspiel, tom toms
Benoit Moerlen / vibraphone

With:
Allan Holdsworth / pedal steel, electric & acoustic guitars, violin
Mino Cinelu / congas, gong, cuica, triangle, maracas, talking drum, temple blocks

Releases information

Artwork: Jacques Moitoret

Gong – “Gazeuse!” Album photo

GONG GAZEUSE 3

Gong – “Gazeuse!” Album cover photo (front and back)

GONG GAZEUSE

Gong – “Gazeuse!” Album cover photo (front)

GONG GAZEUSE 1

Gong – “Esnuria” Video file link on YouTube

Gong – “Gazeuse! Full album Video file link on DailyMotion

Gong – Gazeuse” Full album Download link on Zippyshare

Gong Band’s Discography on Muro Do Classic Rock Blog

Gong Band’s Homepage

Gong Band’s Page on Facebook

 

 

7/12-inch Singles/E.p.s Alternative/Experimental/Indie Rock Australia 1980s The Moffs – “Another Day In The Sun”

7/12-inch Singles/E.p.s Alternative/Experimental/Indie Rock Australia 1980s 

The Moffs

“Another Day In The Sun” (A’ side single)

Released on 13th May 1985 on Citadel Records CIT 012

Line-up/Credits :

Tom Kazas: guitar, vocals, piano
David Byrnes: bass guitar
Nick Potts: organ
Alan Hislop: drums

Written by Tom Kazas
Produced by Chris Logan. Engineered by Tom Colley.
Recorded at Paradise Studios Sydney February 1985
‘Sun’ cover art by Benevision

Lyrics :

Turn your head, across the sea
Wave your sorrow, wait for me
And with my eyes, I see your face
Drifting slowly, in this place
And now it seems, there’s no time to feel
All these hours, standing still
And where I am, it might not be there
The place I know, I will disappear
Another day in the sun, another day in the sun
Another day in the sun, another day in the sun.

The Moffs – Another Day In The Sun” album cover photo (front)

THE MOFFS SINGLE 1

The Moffs  photo of the band (1985)

THE MOFFS 2

The Moffs- Another Day In The Sun Video link on YouTube

The Moffs – Another Day In The Sun Audio file link on Bandcamp

The Moffs – “Another Day In The Sun” Audio file link on Spotify