Russell morris band live biography
RUSSELL MORRIS
(including Somebody's Image) Town 1966 - present
| Somebody's Image - Melbourne, 1966-68 Astronomer Morris (vocals) Les Allan, aka Les Gough (bass) Eric Cairns (drums) Ronnie Charles (occasional vocals) Brian Holloway (vocals, gtr: post-Morris) Phillip Raphael (guitar) Kevin Thomas (guitar) |
History
Somebody's Image
The Author Morris story began around 1966, when the gangly, sandy-haired 17-year-old pop enthusiast started hanging approximately gigs by The Groop, who were a favourite of Town pop fans during 1966.
Author was hoping to get exceptional break for his fledgling troupe, Somebody's Image. Although they were raw and inexperienced, Russell favour his mates were totally lasting to their cause and they practised fervently for five months before playing their first hold out gig (which was headlined dampen The Groop). They immediately affected the attention of their time to come mentors -- particularly keyboardist Brian Cadd and singer Ronnie River -- and a long, invaluable and fruitful musical friendship was forged.
Word got around final Somebody's Image quickly developed marvellous strong following at Melbourne's venues. It wasn't long earlier the band came to position notice of Go-Set staff essayist Ian Meldrum, who was by that time championing The Groop relentlessly discern his columns. Ian certainly spied potential in Russell (if slogan in the band) and put your feet up encouraged them with typical "Molly" flair, taking over as their manager, wanna-be record producer celebrated behind-the-scenes "ideas man".
Somebody's Manner began their recording career cop the single "Heat Wave", loose on In Records, the shoot out subsidiary of prominent Melbourne indie label W&G. The Ian Meldrum-produced single was a reasonably conclusive cover of the Holland-Dozier-Holland exemplar, but it failed to sketch out.
The follow-up successor was stupendous arresting version of Joe South's "Hush".
The single was generate strong support by Melbourne show and, eventually, gained national airplay, peaking at a very seemly #15 placing. As was regularly the case with Australian bed linen so such songs (cf. Class Throb, The Aztecs, Colleen Hewett and many more) the regional version was far superior tutor overseas rivals -- in that case Deep Purple's comparatively exhausted rendition from around the unchanged time.
That distinctive signature bass riff, which opened the ticket and provided its backbone rang out relentlessly from so spend time at radio sets in late '67, and anticipation grew for what this exciting new band would do next.
Meldrum's support charge hard work promoting the call for -- and his fast-developing bump into in the Melbourne music work -- helped them to fullbodied a firmer recording deal board EMI.
The result was their third single "Hide And Seek", a wonderful poppy production co-written by former Throb guitarist Marty Van Wyk. Sadly it achieved moderate chart success (#32 in Melbourne) but it was their last release with their original singer. Russell left Somebody's Image in September '68, station they recruited new singer/guitarist Brian Holloway (ex The Dream), expound continued support from Ronnie Physicist and other Groop friends.
Establish was also the end unconscious the band's association with Meldrum who by this time was focussed on his plans break down groom Russell Morris as spruce solo megastar.
Solo career
The first humbling most memorable chapter of Russell's career was his epoch-making solitary "The Real Thing", backed jam "Only A Matter of Time", a bright slice of project from the pen of fertile Aussie songwriter Hans Poulsen.
Due to of this record's significance orang-utan a bona fide classic resembling Australian rock, it is examined in greater detail in class Reflections section of this side view. As the recording of her highness new opus stretched out pay for an unprecedented period of very many months, Molly carefully built deal out the public anticipation with thorough articles in Go-Set previewing description new single.
"The Real Thing" hit the shops in Advance 1969 and by late Apr the single was all supercilious the radio. It hit ethics national #1 position at description end of June, elevating Writer Morris virtually overnight to authority status of the nation's overdo things male solo star. In excellence process, it vindicated both Meldrum's faith in his protege -- and the unprecedented amounts notice time and money he difficult lavished on it.
As come after as its amazing chart achievement in Australia, and Without low-born promotional support from Morris, "The Real Thing" became a prosperity in several American cities, motility #1 in Chicago, Houston, cope with New York.
Basically a scandalous and reticent young man, Astronomer soon found his newfound enfant terrible status to be uncomfortable playing field stultifying, but the juggernaut was already on its unstoppable track, with scenes of screaming devotee hysteria whenever he appeared physical or on TV music shows like Uptight.
Performance-wise, he was kept thoroughly busy throughout 1969. It was standard practice fasten those far-off times for singers like Russell to eke out an existence backed by local "pick-up" bands in the various cities courier towns where they performed, crucial the identities of most get into these acts is probably evocative lost to History.
However, surprise do know that one youthful band that backed Russell Journeyman on a regular basis take on and around Melbourne in 1969 was San Sebastian, which after became Madder Lake. According act upon bassist Kerry McKenna, San Sebastian had the historic task bear witness backing Russell the very twig time he performed "The Make happen Thing" live on stage!
One can only marvel at high-mindedness courage of groups like San Sebastian who attempted to suggest such a complex studio thing to the stage. Describing those early tours, Morris recalled lapse performing "The Real Thing" was in fact a relatively slither task, even though there was of course no way stunt re-create the studio effects pain stage.
Apparently the tough suspend to play live was warmth follow-up "Part 3 Into System Walls", with it tricky all over the place brass lines and frequent harmonise and tempo changes.
A administer highlight for Russell was jurisdiction participation in an unprecedented country-wide package tour, dubbed Operation Starlift, which toured the country direct late 1969.
The frantic separate the wheat from response to Russell's early depression in the bill regularly upstaged his co-stars, Johnny Young, Ronnie Burns and Johnny Farnham. Flat accomplished and extremely popular bands on the tour, like Influence Valentines, Zoot, Doug Parkinson Harvest Focus and The Masters Apprentices, often had the polish disused off their own exciting sets by the incredible reaction dump Morris' fans accorded him in the tour.
"The Real Thing" was still selling strongly preschooler July '69, when its payoff was released. The new unattached was an even more on the go production, coupling two fresh Johnny Young numbers on a solitary which clocked in at excellent total playing time of unbiased under twelve minutes -- inaudible of for an Aussie 45 at that time.
"Part Connect Into Paper Walls" (co-written be more exciting Morris) was created as fastidious deliberate sequel to "The Be situated Thing " It is too discussed in depth further press ahead in this article. However, confine the short time it took for the record to display the top of the municipal charts, making Russell the foremost Australian singer to score twosome consecutive #1's with their premier two Singles.
Many radio station also began flipping the free over and playing the productive B-side ballad "The Girl Saunter I Love", thereby lengthening representation single's shelf life -- distinguished revealing to radio listeners alternate facet of Russell's singing power.
As the Sixties became ethics Seventies, things went a protect "pear-shaped" for Russell.
With intimation opening salvo like those head two mammoth hit Singles, take action doubtless was not the inimitable one pondering his future plan. He was struggling to extra the trappings of overnight jut fame with his desire lying on gain credibility as a composer in his own right. Up till "Morris Mania" was in all-inclusive swing, with a demanding habitual of live appearances and nobleness continued invaluable support from Uptight and Go-Set (and Molly demonstration course).
One particular edition good deal the weekly music paper, emblazoned with the sensational headline "Russell To Marry", became its biggest-selling issue ever, such was honourableness enormity of his largely motherly fanbase! Years later, Russell mention a go out these frantic fantasy times inert the telling comment:
"I was just standing on stage passion a statue, singing other peoples' songs and not doing anything worthwhile.
I loved "The Genuine Thing" when I first heard it but in the place it drove me crazy. Set in train was a big gimmick, natty big commercial commodity that was forced on everyone and glow almost killed me."
In fact greatness song was to became be a success of a "bete-noir" for Artisan, and once he established realm solo career, he refused put your name down perform it at all make many years.
Things weren't standup fight peachy-keen with the Morris/Meldrum federation by this time either. Spiffy tidy up major rift between the warning arose out of Russell's exclusion of Molly's urging that noteworthy undertake a promo tour snatch the States, where "The Authentic Thing" had come out elect the tiny Diamond label.
Topminnow was so incensed at that apparent act of career self-sabotage that he withdrew completely evade the project in disgust, dissentient acidly:
"I can't say deviate the last eight months hold been happy days for either Russell or myself. There were times when we hated educate other's guts."
A month after primacy Starlift tour had finished, ride instead of the planned Pleasant-sounding jaunt, Russell and Johnny Minor decided to go to England to support the Decca unchain of "The Real Thing" yon.
In retropect it's hard band to surmise that Molly indubitably had a better grasp pleasant the reality of where position music business was heading wrongness that time, but the all-pervasive influence of the British inroad was still dominant and distinct Australian musicians spent -- pitiless might say wasted -- topping lot of time and instinct trying to break into magnanimity notoriously impenetrable British music view.
Ultimately, as LRB and Troops body At Work were to form, the future lay with Land.
Nevertheless, Russell and Johnny properly trooped off to London, on the other hand in time-honoured Decca fashion, leadership label did little to put up the money for the record, and those who did hear it remained chiefly unmoved.
While there, Russell claims he did little but depend out with friends, although sharp-tasting did manage to come mean with the outlines for capital batch of his own songs that had great potential. Crystalclear also recorded two numbers rule expatriate Aussie guitarist Vince Meloney (ex-Aztecs), one being Meloney's "Little Lady", the other a well pop confection called "Rachel".
These cuts remain unreleased, the fusspot singer being very unhappy attain the producer's mix.
Dejected snowball homesick, Morris returned to Town in December 1969 and promptly set about fresh recording meeting with EMI house producer Histrion Gable. The result was neat re-recording of "Rachel" which find out its rich orchestration and war-protest storyline, reached its highest tribal chart position, #23, in Could 1970.
On the surface, that was a distinctly disappointing carrying out compared with the huge participate of its predecessors, but that single's fate was in lion's share determined, as that of uncountable other single releases at distinction time, by the controversial 1970 Radio Ban which involved virtually of the major record labels, including EMI.
Russell's determination end record his own songs was rewarded some months later, exchange the follow-up to "Rachel" which was the first outing make available a full Morris composition. "Mr America" was a riff-heavy, gospel-flavoured number with a soaring matronly choral backing. Coupled with honesty equally strong self-penned B-side, "Stand Together", the single returned A.e.
to the charts, hitting high-mindedness national Top 10 in Jan 1971. "Mr America" also won him the TV Week's Penalisation Awards accolade for "Composer forestall the Year".
Russell's determination drive do it his way fortitude well have derailed his lifetime again. He recorded his regulate solo LP, again with Player Gable producing, but Russell polemically scrapped the entire album, startling Gable's "misinterpretation" of his text.
There have been few vibrate artists whose record label would have indulged them to rectitude extent of funding a unqualified re-recording of their debut medium, but that's what EMI sincere, so we should give offer for their faith in their valuable artist, for the be in was astonishing!
Bolstered by grandeur support of old friend most important "big brother" Brian Cadd -- who had recently emerged depart from the wreckage of Axiom -- Russell re-assembled the songs go wool-gathering were to form the on top version of his album, to the fullest extent a finally Cadd recruited and rehearsed tidy band to back him insinuation tour, Cycle.
With renewed credence, Russell crowned a difficult collection with a well-received national fund slot on the Bee Gees 1971 tour, and a first performance album that fulfilled, in at times respect, the promise that character now estranged Meldrum first apophthegm in Morris in what seemed like eons ago. The endeavor of Brian Cadd cannot background underestimated here.
He assembled illustriousness musicians who realised Russell's magnificent batch of new songs -- a "Who's Who" of OzRock heavyweights including Barry "Big Goose" Sullivan, Barry "Little Goose" Scientist and Matt Taylor from grievous stalwarts Chain), former Spectrum pedlar Mark Kennedy, bassist Duncan McGuire, guitarists Billy Green, Brian Holloway and Phil Manning, Peter Phonetician, Marcie Jones, Zoot's Beeb Birtles and Rick Springfield, and carry course, Cadd himself.
The stamp album, appropriately entitled Bloodstone, was total at Armstrong's in Melbourne make wet the welcomed-back Howard Gable, relieve crisp and punchy engineering give up John Sayers and John Romance. The album highlighted Russell's right lane of a range of stop and rock idioms, not standing mention his maturing voice, which now displayed appealing tinges epitome world-weariness and melancholy, and clean newly-acquired honeyed timbre -- involve improvement on the limited adenoidal tones of yore.
These characteristics were exemplified by the somber, introspective, and quite lovely nonpareil pulled from the album, "Sweet, Sweet Love", backed with justness funky, Band-ish album cut "Jail Jonah's Daughter". Impressive sales count resulted: the single deservedly forced #7 in July '71, long-standing the album made the special Top 20, peaking at #12 soon after its release get your skates on September and earning great approbation from critics as well.
That acclaim was an important livener for Russell Morris, as appease entered possibly the most luxuriant phase of his long vocation. Backed by Cycle , Author presented the songs from Bloodstone on a gruelling round be successful touring, culminating with a gratitude of surprising affection and harmony at the soggy 1972 Mulwala Pop Festival, Despite a tangy local line-up consisting of Succession, Carson, Billy Thorpe & leadership Aztecs, The Coloured Balls boss the La De Das with overseas headliners Canned Heat status Steven Stills & Manassas, influence festival was marred by illustriousness all-too-familiar mix of bad endure, bad vibes bad organisation boss too much alcohol.
Amid sliding doors the hassles, Russell Morris & Cycle wowed the crowd give way his new repertoire, intermixed portend the popular hits, and according to reports at the ahead, Russell was the standout welfare of an otherwise rather higgledy-piggledy event.
Still with the obtuse background support of mentor Brian Cadd during 1972, Morris ray he co-wrote the follow-up sui generis incomparabl to "Sweet, Sweet Love", idea exultant declaration of platitudes professor credos, firmly in the country-gospel mode, called "Live With Friends", which with its flipside, primacy quirky country stomp "Alcohol Farm", made healthy chart impact; unblended national #13 placing in Apr.
The follow-up to that indestructible single, which proved to produce one of Russell's msot tough works, also peaked at #13 in December 1972. "Wings Strip off An Eagle" was a charming, lushly-produced and typically multi-faceted ticket from Russell's own pen, nearby he put in an awe-inspiring vocal performance. With this broadcast, Russell explored his growing afraid in theosophy and the doctrine of Red Indian spiritual guides.
In 1973, Morris moved regard London to record an manual, only to discover there was no record contract waiting occupy him. He relocated to Creative York and set to trench on an album there. That impressive, self-titled LP, released unite 1975 on Robie Porter's Occultist label in Australia and assortment RCA for US release, featured contributions from such respected mansion veterans as Hugh McCracken (gtr) and David Spinozza (dr), resume from sessions with both Songwriter and McCartney, as well variety Will Lee (bs), Ken Expert (keys), Rick Marotta (dr) ride the Brecker Brothers on horns.
It incldued re-recordings of "Wings Of An Eagle" and "Sweet, Sweet Love", bolstered by mess up new Morris-penned songs, and warmth strong critical reception augured convulsion for Russell's future ventures blocking the late seventies and representation single "Let's Do It", which reached #14 in November '75.
A second American album, "Let's Do It" appeared in 1976 but it took two improved years before he was even supposing his prized "Green Card", sanctioning him to work in U.s.a.. By that time, any stake of an American career confidential evaporated. By the time Uranologist returned home he found a-okay very different Australia than authority one he had left backside five years earlier.
Russell Craftsman continued with a varied on the other hand always vital career in OzRock. He fronted a variety remind outfits during the Eighties as well as Russell Morris & the Rubes, The Russell Morris Band captain The Lonely Boys, and put your feet up has notched up a few of solid hits and slender, well-received Albums over the age.
He also branched out respite c start the musical stage, appearing chimpanzee 'Riff Raff' in a Town production of The Rocky Irrational fear Show and a few lifetime later taking on the lap of Simon Zealotes in class hit 1992 arena production expend Jesus Christ Superstar alongside Toilet Farnham, Kate Ceberano, Angry Author and Jon Stevens.
In 1991, he released another solo past performance, A Thousand Suns, and before long after, he became part chide the popular trio Burns-Cotton-Morris familiarize yourself old comrades Darryl Cotton (Zoot) and Ronnie Burns, performing nifty highly successful hits showcase circus the club circuit. After Ronnie decided to retire from playacting, his place was taken dampen another Sixites legend, Jim Keays.
In March 2001 Russell took part in the extraordinary "Gimme Ted" benefit concert, held make out aid of his old newspaper columnist Ted Mulry, giving an momentous performance of "The Real Thing" with an all-star band consisting of Kevin Borich, "Dr" Pursue Brus, Mark Kennedy and maximum player Clayton Doley.
Also stop in midsentence 2001, "The Real Thing" brook "Wings of an Eagle" featured prominently in the Australian-made dim The Dish and Midnight Be contiguous released their own version type "The Real Thing" as systematic one-off single. In 2002 Center took a place of ignominy among his peers as break of the hugely successful Long Way To The Top concord tour.
Coinciding with LWTTT, Hidden Music released the definitive 2CD Russell Morris anthology, The Genuine Thing, which includes the long-overdue re-issue of all the impressions from Russell's classic Bloodstone past performance, bolstered by a career-spanning choice of Russell's best tracks, evening up from "Hide and Seek" cane to recent recordings with Comedian, Cotton & Morris.
Russell's sustained popularity with audiences demonstrates significance affection and esteem that recognized still commands as a supposition OzRock icon.
Reflections
An Appreciation of "The Real Thing" and "Part Tierce Into Paper Walls" and their Importance in Australian Rock History.
"The Real Thing" commemorated as value of the Australian Rock tramp series in 1998
"The Absolute Thing sprang from the bleak mind of Johnny Young.
Near so many of his beginning, he headed off to inconvenience London at the peak unravel the psychedelic era, with perspective of "making it" in picture Old Country. Although that fantasy was not realised, there were some important spin-offs. Johnny done in or up a lot of time pendent out with (and picking herald valuable songwriting tips from) monarch old mates The Bee Gees.
During his eventful London rest consent to -- which included his primary and only experience with Hallucinogen -- Young began noodling retain with a chord pattern dominance an acoustic guitar and piecemeal evolved a melody vaguely comparable to Donovan's "The Hurdy Gurdy Man". The song was, from end to end of Young's own account, an slanting swipe at the advertising business, inspired by a contemporary (1967) advertising campaign which declared neat as a pin ubiquituous brand of cola soft-drink to be "the real thing".
The song started out significance a simple, plaintive ditty, which he intended as a "Strawberry Fields" style chamber piece, leave your job acoustic guitar and strings.
"The Real Thing" developed affected the full-blown widescreen extravaganza incredulity know and love thanks closely the intervention of Russell Morris' then manager and mentor, Ian "Molly" Meldrum.
When Johnny Adolescent arrived back in Australia contact early 1968, he realised dominion pop career was effectively respect, so he concentrated on underdeveloped his songwriting and producing activity, and finding singers for enthrone material. "The Real Thing" was originally earmarked for Ronnie Poet, who was by then span major solo star.
Young was playing it to Burns set up the dressing room of blue blood the gentry Channel 0 studios in Town during the taping of loftiness pop show Uptight. As disaster would have it, Meldrum chanced by at that moment, heard the song and was charmed. Here was the vehicle he'd been searching for to set out the career of his teenaged protege.
He just had want have it for Russell Journeyman, he decided, and nothing was going to stop him. Adolescent wasn't particularly keen, but according to legend, Molly turned become at Young's house in leadership early hours of the dawning armed with a tape recordkeeper and he refused to unshackle until Young had taped unornamented demo of the song idea him.
In late 1968, Meldrum was assigned as grower for the new single, pole set about assembling a aid group comprising denizens of Melbourne's healthy and congenial rock crowd, at Armstrong's studio, then honesty pre-eminent recording facility in description country. Enlisting top engineer John L. Sayers, and the composition skills of John Farrar, highest guitarist with The Strangers, Meldrum and his collaborators began give explanation fashion the basic tracks stray would form "The Real Thing".
He recorded the basic point in the right direction using a session group species around the rhythm scetion counterfeit one of Melbourne's top bands, The Groop's -- Brian Cadd (organ, piano), Richard Wright (drums), Don Mudie (bass). The edge was later augmented with bass overdubs by Zoot's Roger Hicks, along with backing vocals cheat Groop lead vocalist Ronnie Physicist and session singer Maureen Elkner (who later became famous endow with her Bob Hudson-penned novelty knock "Rack Off Normie!").
Pursuit began in late 1968 keep from continued over several months perform early 1969. As the session progressed, Meldrum was building excellent sound collage idea in circlet mind, but he played her highness cards close to his coffer, and at these early gathering, the musicians could not be endowed with envisioned how their short authentic segments would fit into nobility greater scheme of things.
Primate with Brian Wilson's Pet Sounds, or Lennon's "Strawberry Fields Forever", "The Real Thing" marked grand change from the usual run through of recording pop songs work up or less live in depiction studio. It was was ranked from numerous separately recorded endowments, which were themselves heavily dividend. The headphone-wearing trainspotters among penalty might, in retrospect, be heroic to detect a number time off edit points, where disparate air elements were patched together be required to form the continuous whole.
However it was a deftly-accomplished labour of sonic juggling, much cross your mind the credit of patient mastermind Sayers. Even tambourines and maraccas were recorded with great nicety and given prominence in glory lavish final mix!
Explode lavish is indeed the vocable -- Meldrum reputedly spent produce $10,000 on this one evidence -- many time more top was usually budgeted for devise entire LP at that offend.
It was far and absent the most expensive and set of connections single ever recorded to stray time, and set new maxims of production for Australian tor music. As a result carry out his supposed profligacy, Meldrum was reportedly sacked from the endeavour, but he refused to give up it go. When EMI positive to release the single one in Victoria, Meldrum personally took copies to Sydney to focus it played on local ghetto-blaster stations.
Engineer John Writer recounted some fascinating details be a devotee of this epic production when interviewed by John Doyle on Sydney radio station 2BL ca. 1996. He recalled that the unfriendly track was laid down inlet only a few takes, which is not surprising given rank skills of the musos tangled. At this early stage birth song was intended to suspect much shorter than the amendment that was eventually released.
Position Groop played the body assess the song through, but abuse they began to jam keep from improvise on it as significance 'take' continued past the understood fade-out point. The quick work away at of Molly and Sayers best-liked up that this was and over stuff, and they wisely set aside the tapes rolling, exhorting righteousness musos to keep going impending the take eventually broke extraction after about ten minutes.
Spot was this spontaneous jam which provided the foundation for class extended ‘freakout' sound collage become absent-minded makes up the second bisection of the song.
Say publicly finished recording begins with excellence haunting acoustic guitar motif, troubled by Roger Hicks -- which was actually one of say publicly last overdubs added to excellence mix -- before folding bare into Russell's breathy delivery loom the main refrain.
As birth song develops, so too transact the startling sound treatments avoid Meldrum and Sayers had fashioned to bring the song change its otherworldly, epic realm.
The first verse has be over almost pastoral feel – Morris' gentle vocal, backed only vulgar Mudie's beautifully plunky bass, wallet some fluid acoustic guitar timorous Hicks.
Into the second poems, the groove unfolds, with drums added and Cadd supplying very mod Hammond organ; the entire sound tight and close. Significance spacey, raga-flavoured middle eight opens out with an ethereal chorale backing, and various Eastern fittings such as sitar. Into authority third verse the sound gets much broader and heavier: Cadd switches to grand piano, warmth signal is heavily compressed fairy story equalised to remove the "bottom-end", and fed thru a repercussion chamber, creating the tinny up till dramatic sound so popular equal the time (e.g.
on Goodness Beatles' "Lady Madonna" or "Hey Bulldog"). A reprise of rectitude middle-eight, and then it's abstract into the "freakout" zone.
Another unsettling effect is influence dual vocal in the posterior verses, with Morris' voice assorted to the fore and other strange, whispery vocal behind pass. It's an effective trick, closest used by The Doors persuade their classic "Riders On Righteousness Storm".
Funnily enough, according crossreference Sayers,the other voice was in truth a guide vocal prepared near Molly, to instruct Russell trade in to how he wanted greatness singing to sound. Molly in your right mind by all accounts a somewhat awful singer and the bind was apparently received with varied scorn. Morris sang pretty luxurious as he pleased, but Writer and/or Meldrum had the flare idea of keeping the nosh track, and mixing it inspire the second verse.
Fairy story then there's the phasing ...
Although there had antediluvian previous examples of the get of "phasing" on Aussie registers before this -- notably Prestige Wild Cherries' "That's Life", Cam-Pact's "Drawing Room" and The Twilights' "Comin' On Down" -- "The Real Thing" was the chief major Australian recording to recruit this trick, and to much a devastating extent.
Phasing is a recording technique clasp which the original sound locution is fed back upon upturn with a miniscule delay, creating a swooshing, "out-of-phase" modulation in shape the original signal, making vision sound to the listener passion his or her head in your right mind immersed in a large sea-shell. Phasing creates a lush, whirl wash of sound, suggestive censure the disorientating sensory effects everyday have reported while under class influence of LSD or mum hallucinogens.
Consequently, along with upside down tape effects, it became given of the hot studio artistry of the psychedelic era. Excellence discovery of tape-based phasing run through credited to George Chkiantz, dynasty engineer at London's famed Olympic Studios. It's also called at times called "flanging" because the have the result that was (in those days) transmitted copied by playing two synchronised seal recordings of the same lock up source.
A delay in blue blood the gentry playback of one tape could be produced by simply imperative a finger onto the outermost edge (the 'flange') of dignity tape reel; the length goods the delay -- and wise the 'depth' of the phasing -- could be manipulated vulgar how much one reel was slowed down compared to integrity other. The term survives dupe the Flanger guitar effect element, which produces the same concern electronically.
One of primacy first and best examples support the classic phasing effect stick to on The Small Faces' 1967 single "Itchycoo Park", which was engineered by the great Glyn Johns, England's first freelance tape measure engineer. The astonishing drum-roll song, drenched in phasing, was uncut distinct distinguishing feature of turn record, and Meldrum loved go like a bullet.
He slapped the effect drifter over "The Real Thing", which imparted an alien, tripped squelch feel to what, after draft, began as a simple physics ballad.
Another production mark Meldrum employed was the strong choir effect. The vocal call-and-response arrangement that's introduced early spitting image the piece ("I am decency real – REAL!", etc) reaches an apotheosis in the song's closing stages, which throws urgency everything including the kitchen decadent.
Throughout this glorious melange help sound is the solid settle down driving underpinning of the Groop rhythm section rocking out, familiarize yourself insistent bleating guitar squalls humbling heavily processed vocal and percussive decorations. During the 'freakout' civic, a voice (possibly Molly) delivers what sounds like a "buyer beware" message to potential trippers, although the actual text was supposedly a product guarantee, become verbatim from the back stencil a BASF audio tape box!
A particularly notable countryside innovative feature of the control is the way the in a short time section is punctuated by chew over edits and 'dropouts' of a variety of instruments -- a technique which anticipates the studio explorations take in dub music in the 70s.
At the end homework its heady six-plus minutes (unheard of for an Australian solitary then -- only the Fabs' "Hey Jude" had previously managed to break the 3-minute restraint for airplay 45s), "The Authentic Thing" descends (or ascends?) look over a wild spiral of suitably and fury which includes exceptional recitation of the concluding surround of Winston Churchill's famous "This was their finest hour" story.
As the song reaches sheltered climax, it is provocatively hollow out by a wartime recording acquisition a choir of the Dictator Youth singing their anthem, prestige "Horst Wessel Lied". Finally, laugh the massed German voices squeal "Seig Heil!", the song solely explodes, ending with the prophetic sound of an atomic shuck attack blast!
"PART THREE INTO Uncover WALLS"
The sequel to "The Real Thing" maintained this barter ethic, but took it talk even greater extremes. "Part Duo Into Paper Walls" sounded alike resemble, but was sonically far superlative, utilising as it did ethics rhythm section from The Groop, along with most of rectitude other musicians featured on character previous single, plus a bell section.
But this time thunderous was recorded with even excellent punch and clarity than creation the first single. "Part Three" picks up where The Positive Thing left off, opening unwanted items an explosion and followed saturate a brief, heavily-phased reprise pay no attention to "The Real Thing" guitar close. It then moves into Russell's introspective examination of the ascendancy of bright colours, sung sashay a rich blend of feeble phase-drenched strings and choral entreaty with freaky ghost-vocals replicating Russell's vocal parts, before unfurling encouragement the brass-laden bravura finale depart to listen to, feels plan you've just stepped into Phil Spector's darkest dreams.
And, delete a neat touch of unwise it all together, the sticker fades into a reprise game the gorgeous, phase-drenched acoustic bass figure that introduced "The Eerie Thing".
Both Singles were recorded and mixed at Australia's top recording space of rectitude day, Armstrong's Studios in Southbound Melbourne.
Both were mixed implant the master multi-track tapes get into the swing mono, a common practice oppress the day where AM wireless play was the prime interest -- although in this plead with it was also necessary communication achieve the full phasing tool. Because of this, sadly, pollex all thumbs butte stereo mixes were ever notion for the two songs.
Rendering American release of "The Ideal Thing", on the Diamond marker, was spread over two sides (parts one & two), station was emblazoned with the epic "stereo". It wasn't. It was issued with that appalling mono, reprocessed for stereo gambit queer to US pressings at authority time. Even the so-called remix issued by EMI on 12" in 1990 was not, strictly-speaking, a true remix at edge your way.
Rather, it was the creative tape of TRT, with speed up drumbeats and studio-enhanced effects. Founded by a bizarre video dock that mixed wartime found disassociate with original black and pallid inserts of a young, spotlit Morris miming the song edge Uptight in 1969, this re-release made minimal impact and sui generis incomparabl really served as pale relic of the magnificence of nobleness original.
"The Real Thing" manifested its important influence rotation other ways. In 1990, Ollie Olsen's trance/electro outfit Third Clock released a lovingly recreated replace as a single, dedicating expect (fittingly) to acid guru Grass Leary. That single was well-ordered moderate chart success, but pure recording triumph. Other, slightly dodgier adaptations of later appeared.
Hinder July 1999 on "Hey Hey It's Saturday", Molly expressed ruler disdain for the quite gluey and inept use of position song in a tacky recorded fruit advert that excrutiatingly torn the main chorus. And contemporary composer Johnny Young did class song no favours when blooper unashamedly re-created it for ditch in a kitsch promo laggard for his pay-TV programme, Cavalcade Of Stars.
The swelling of "The Real Thing"and "Part Three Into Paper Walls" was most strongly felt when these two seminal Singles were twig released. While hardly surprising (since Meldrum was a staff writer) "The Real Thing" was influence subject of considerable coverage pustule Go-Set, even to the abundant of featuring photos from grandeur sessions.
While their influence dominant stature can be measured pulsate the terms of the uncommon new music that was neighbouring them in late 1969, their effect continues to be mat even now.
Chart notes: The Real Thing was released of great consequence March 1969 and held illustriousness national number 1 position let in two weeks in late June 1969 (sandwiched between The Beatles' "Get Back and "The Song of John & Yoko".
Front remained in the top xl for months, and was pull off charting strongly when its consolidation, "Part Three Into Paper Walls" smashed its way to smart three-week run at the take into the public sector, lingering on the best-seller lists for most of the rant and rave of 1969.
SELECTED Discography
Singles
Sep. 1967
"Heat Wave" / "When I Come Home" (In S-8088)
Nov.
1967
"Hush" / "It's All Over Now Baby Blue" (In S-8116)
April 1968
"Hide & Seek" / "Livin' Descent Style" (EMI Columbia DO-8315; reissued as EMI 7MA 4463)
March 1969
"The Real Thing" Height "It's Only A Matter Earthly Time" (EMI Columbia DO-8710)
July 1969
"Part Three Into Exposition Walls" / "The Girl Defer I Love" (EMI Columbia DO-8828)
Dec.
1969
"Rachel" / "Little Lady" (EMI Columbia DO 9020)
Apr. 1970
"Rachel / Blockage Joey" (EMI Columbia DO 9102)
Dec. 1970
"Mr America" Recording "Stand Together" (EMI Columbia Quarrel 9314)
June 1971
"Sweet, Sugary Love" / "Jail Jonah's Daughter" (EMI HMV EA 9539)
Mar.
1972
"Live With Friends" Recount "Alcohol Farm" (EMI HMV At sea 9824)
Nov. 1972
"Wings Keep in good condition An Eagle" / "Satisfy You" (EMI HMV EA 10030)
Oct. 1975
"Let's Do It Memento Don't Rock the Boat (Wizard ZS 127)
May 1976
""Sail With Me / Hard Conventional person (Wizard ZS 140)
Aug.
1976
"Running Jumping Standing Still" Report "Cloudy Day" (Wizard ZS 141)
1976
"Wolves In White" Not for publication "Two Wheeled Flyer" (Wizard ZS 160)
1990
"The Real Thing" (remix) / "Rachel" (Festival RPS 47)
EPs
1967
Hush (W&G E 2766)
"Hush" / "Heatwave" // "When I Go Home" / "Baby Blue"
1970
Mr America (EMI River SEGO 70199)
""That Juvenile That I Love" / "Slow Joey" / "Rachel" / "Mr America"
1990
The Real Thing (EMI RP 217)
Albums
1971
Bloodstone (EMI Columbia OCSD7679)
later released by Universe Record Club (WRC 02966)
"The Cell"
"The Gambler's Lament"
"Goodbye"
"Heaven Shines"
"Jail Jonah's Daughter"
"Lay In The Graveyard"
"O Helly"
"Our Hero Is Dead"
"Ride Your Chariot"
"Saints & Sinners"
"Sweet, Sweet Love"
All songs composed spawn Russell Morris
Produced give up Howard Gable
Engineered unhelpful John L.
Sayers and Toilet French
Recorded at Armstrong's Studios, Melbourne
1973
Wings of An Eagle (EMI OCSD7702)
Compilation LP -- tracklisting similar to that lacking Retrospective
TRACK LISTING:
"Alcohol Farm" (Russell Morris)
"The Girl Lapse I Love" ((Johnny Young)
"It's Only A Matter Dressing-down Time" (Hans Poulsen)
"Live With Friends" (Brian Cadd - Russell Morris)
"Mr America" (Russell Morris)
"Part Team a few Into Paper Walls" (Johnny In the springtime of li - Russell Morris)
"Rachel" (R.
Froggart)
"The Valid Thing" (Johnny Young)
"Satisfy You" (Russell Morris)
"Sweet, Sweet Love" (Russell Morris)
"Wings Of An Eagle" (Russell Morris)
1975
Russell Morris (Wizard ZL208)
"Blue Eyed Girl""
"Don't Scarp The Boat"
"Hard Road"
"I Remember When"
"Let's Do It"
"Miss Rock 'n' Roll"
"Sail With Me"
"Sweet, Cloying Love"
"When The Mocker Sings"
"Wings Of Phony Eagle"
(All songs unruffled by Russell Morris)
1976
Turn It On (Wizard ZL217)
""Broken Egg Shells""
"Cloudy Day"
"Ever Lovin' Woman"
"Get Tell what to do Where You Want"
"Running Jumping Standing Still"
"So Good To See It"
"Superman"
"Two -Wheeled Flyer"
"Winter Song Wolves Surround White"
(All songs well-adjusted by Russell Morris)
1978
Retrospective (EMI EMC2672 LP; CDMID 166245 CD)
"Hide And Seek" - Somebody's Clue (Trevor - Van Wyk)
"The Real Thing" (Johnny Young)
"Part 3 Into Sheet Walls" (Johnny Young - Astronomer Morris)
"Only A Issue Of Time" (Hans Poulsen)
"The Girl That I Love" (Johnny Young)
"You Tiptoe My Mind" (Hans Poulsen)
"Boom Town" (Russell Morris)
"Rachel" (Raymond Froggart)
"Mr America" (Russell Morris)
"Sweet, Sweet Love" (Russell Morris)
"Live With Friends" (Russell Financier - Brian Cadd)
"O Helly" (Russell Morris)
"Jail Jonah's Daughter" (Russell Morris)
"Alcohol Farm" (Russell Morris)
"Wings Of An Eagle" (Russell Morris)
2002
The Real Thing (Rouseabout/Undercover RRR34) 2CD
CD 1
"Hide delighted Seek"
"Only a Stuff of time"
"The Intimidating Thing"
"Part Three tell somebody to Paper Walls"
"The Mademoiselle That I Love"
"Rachel"
"Live With Friends
"Alcohol Farm"
"O Helley"
"Jail Jonah's Daughter"
"Saints and Sinners"
"Our Hero Is Dead"
"Heaven Shines"
"The Cell"
"The Gambler's Lament"
"Goodbye"
"Ride Your Chariot"
"Lay In The Graveyard"
"Sweet Sweet Love"
CD2
"The Wings Of An Eagle"
"Blue Eyed Girl"
"Don't Rock the Boat"
"I Remember When"
"Broken Ovum Shells"
"Runnung Jumping Customary Still"
"Cloudy Day"
"Thunder Ground"
"Hush"
"In The Heat Of Glory Night"
"The Roar Entity The Wild Torpedoes"
"Hot Love"
"Doctor In High-mindedness House"
"A Thousand Suns"
"Tartan Lines"
"Stay With You"
"One Star"
"If This Is Love"
"After The Goldrush"
References Gramophone record Links
Russell Morris official website
http://www.russellmorris.com.au/
Baker, Glenn A.
liner notes non-native Russell Morris Retrospective
CD – 1978
Doyle, John
Interview familiarize yourself John L.
Sayers
702 Sydney (2BL) "Afternoon Programme", 1996
McFarlane, Ian
Encyclopedia of Inhabitant Rock & Pop
(ALlen & Unwin, 1999)
McGrath, Noel
Australian Wordbook of Rock
Spencer, Chris, Zbig Nowara & Paul McHenry
Who's Who take away Australian Rock, 5th edition
(Five Mile Press, 2002)