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4 Nov 2017

Billy Thorpe & The Aztecs “Live At Sunbury” 1972 2 LP`s Australia Hard Boogie Rock

Billy Thorpe & The Aztecs “Live At Sunbury” 1972  2 LP`s Australia  Hard Boogie Rock
Billy Thorpe & The Aztecs “Mamma” (Full Version) 1972 Live Sunbury Australia

Billy Thorpe & The Aztecs “Mamma” 1972

Billy Thorpe & The Aztecs - Most people I know think that i’m crazy (Sunbury 1972)

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Originally recorded at the historic Sunbury Music Festival on Australia Day 1972, by the loudest, hairiest, blues-rock band our country has ever known, Live at Sunbury sold 80,000 copies when first released. This deluxe reissue (digitally remastered, digi-pak, liner notes by noted Australian Rock author Ian McFarlane and a 16 page booklet with many rare photos) is a classic slab of rock history that every Australian home should have. 

The power of the Aztecs was rarely captured in the studio and this is a reminder why the band was so popular - Includes two terrific Thorpe/Morgan compositions; ‘Time To Live’ and 'Momma’, along with crowd faves 'Ooh Poo Pah Doo’ and 'C C Rider’ and Thorpie’s number one classic 'most people I Know Think That I’m Crazy’…

Much as 1972’s inaugural Sunbury Festival came to be regarded as one of the definitive moments in Australian rock & roll (often referred to as Australia’s Woodstock), so too did Billy Thorpe & the Aztecs’ double-vinyl documentation of their blistering headline set arguably prove to be the crowning achievement of their career. A veteran of Australia’s first wave of ‘60s pop and beat groups, the English-born Thorpe had already scored numerous hits while leading different variations of his Aztecs, but it was in front of Sunbury’s 35,000-strong congregation that his reinvention as scruffy, electrified, blues-rock shaman was crystallized, leaving a younger generation of listeners with mouths agape, eyes bulging, and ears bleeding. In no uncertain terms, this was a take-no-prisoners assault upon the stage, and after “softening” them up with an urgent “C.C. Rider” and a swinging “Be Bop a Lula,” Thorpie and his merry men really let ‘em have it with his self-penned wild man rave-up, “Momma,” a grimacing showcase not only for his powerhouse voice but also his sizzling fretwork (one can almost see Angus Young taking notes in the crowd). Next up was a slightly more subdued romp through the B.B. King blues standard, “Rock Me Baby” (where Bruce Howard’s piano work really shone through), followed by the band’s current hit single, “Most People I Know (Think I’m Crazy),” with its infectious folk-rock chorus punctuated by additional solo guitar bursts, and then the closest the Aztecs ever came to hippie dippie sentimentality in the slow grinding “Time to Live.” Live at Sunbury wrapped up with two protracted jams on Rufus Thomas’ “Jump Back” (with Thorpe blowing a mean harmonica) and Jessie Hill’s “Ooh Poo Pa Doo,” which was transformed into a spirited call-and-response singalong of massive proportions between band and audience, which, as good as it sounds on record, must have felt totally transcendent in the moment. All in all, the enduring impact of Thorpe and co.’s performance that night lies in the stunning power of its simplicity, since both the group’s covers and originals (not to mention their Everyman, right-off-the-street wardrobe) showed what magic could be achieved with classic rock & roll, a stack of overdriven Marshall amps, and a confidently bad-ass attitude. This is why, perhaps more than any other artist/album combination, Thorpe and Live at Sunbury (which would peak at number eight on the Australian national charts) deserve the most credit for kick-starting the ‘70s’ pub and hard rock scenes in Australia, spawning future heavyweights like the Coloured Balls, Buffalo, Buster Brown, Rose Tattoo, and most notably AC/DC… Eduardo Rivadavia…

Aztec Music is a new Australian reissue label, established in 2005. Each release is officially licensed, often w/ bonus tracks included, packaged in deluxe digipaks withelaborate bookslets. Really state-of-the art presentation. “Originally recorded at the historic Sunbury Music Festival on Australia Day 1972, by the loudest, hairiest, blues-rock band our country has ever known, Live at Sunbury sold 80,000 copies when first released. This deluxe reissue (digitally remastered, digi-pak, liner notes by noted Australian Rock author Ian McFarlane and a 16 page booklet with many rare photos) is a classic slab of rock history that every Australian home should have.”…

Live At Sunbury contains an in-concert performance by Billy Thorpe and the Aztecs. The set is part of the Aztec label’s reissue series that puts Australian rock albums from the 1970s back into circulation. Much as 1972’s inaugural Sunbury Festival came to be regarded as one of the definitive moments in Australian rock & roll (often referred to as Australia’s Woodstock), so too did Billy Thorpe & the Aztecs’ double-vinyl documentation of their blistering headline set arguably prove to be the crowning achievement of their career. 

A veteran of Australia’s first wave of `60s pop and beat groups, the English-born Thorpe had already scored numerous hits while leading different variations of his Aztecs, but it was in front of Sunbury’s 35,000-strong congregation that his reinvention as scruffy, electrified, blues-rock shaman was crystallized, leaving a younger generation of listeners with mouths agape, eyes bulging, and ears bleeding…

The wild man of Australian rock whose wild guitar playing was matched by his monsterous vocals.. A total blast. Billy Thorpe started his career as a RnB 50’s/60’s pop chart wonder in AUS, but reinvented himself in the late 60’s after taking a life altering LSD trip (kudos to him!). Billy teamed up first with Australian guitar legend (god) Lobby Loyde of Wild Cherries (go to Utube for amazing videos) and the cut The Hoax is over album in 1970. Later Billy decided to play guitar himself n rest is history. Billy Thorpe was always at his peak live on stage,and there after 2 live albums were released, of which this wild Sunbury show being the second one to be cut onto vinyl. Sunbury was AUS Woodstock and featured mainly local talent which at the time there was loads. The Aztecs, Wild Cherries/Coloured Balls were mainstays at Sunbury and became legends. Later AUS rock bands such as Rose Tattoo and AC/DC owe their existence to The Aztecs and Coloured Balls, yet rarely if ever is this mentioned (but u know it now) Play L-O-U-D and have a blast. 

Billy Thorpe is an artist that has worn many hats over the years, from pre-Beatles Australian pop idol to sci-fi concept album trailblazer. However, his most fondly-remembered period by the majority of his fans in Australia is from 1968 to 1975, where Thorpie and the Aztecs were the loudest blues-rock band in the country, and would have given the likes of Ten Years After and the Jeff Beck Group a run for their money if their star could have shone overseas. While the original material produced by the band only rarely managed to shine, the sheer power of the band and their devotion to the blues endeared them to a wide audience and inspired a new generation of Australian bands, such as AC/DC and Rose Tattoo, that would make a deep impact overseas. 

Live At Sunbury captures the spirit of the band perfectly, with a mixture of classic blues and rock 'n roll covers and original songs obviously performed very loud but with a lot of care. The set includes a preview of Thorpe’s most remembered single, “Most People I Know (Think That I’m Crazy)”, which was released shortly after this performance. Strong performances of B.B. King’s “Rock Me Baby”, Gene Vincent’s “Be Bop A Lula”, and the original song “Time To Live” are other standouts on this record. 

The Aztecs at this stage of their career were an extremely tight band, having honed their act playing three sets a night, five nights a week around the clubs of Melbourne. The sound of the band reminds me most of Deep Purple’s Scandanavian Nights album, but without the overlong jams. Overall, this is a very strong album, perhaps not the best live album ever but certainly a major milestone in Australian rock. Take the plunge….ByL. Collings…

The Aztecs 
*Gil “Rathead” Matthews - Drums, Vocals 
*Paul “Sheepdog” Wheeler - Bass 
*Bruce Howard - Piano 
*Billy Thorpe - Vocals, Guitar, Harmonica

A1 CC Rider
A2 Be Bop A Lula
A3 Mumma
B1 Rock Me Baby
B2 Most People I Know Think That I’m Crazy
C1 Time To Live
C2 Jump Back
D Ooh-Poo-Pa-Doo 

The Grizzled Mighty “Crooked Little Finger” 2017 US Stoner Rock,Blues Rock,Fuzz Rock,Psych Rock

The Grizzled Mighty “Crooked Little Finger” 2017 US  Stoner Rock,Blues Rock,Fuzz Rock,Psych Rock

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Imagine The White Stripes on stereo and you get a feel for what makes The Grizzled Mighty. They can easily compete with bands like The Royal Blood and give the currently popular duo setup of some bands a new look. Seattle-based Ryan Granger (guitar & vocals) and Faustine Hudson (drums), The Grizzled Mighty are pure rock'n'roll without compromise, with an insane live energy on stage.
The new album “Crooked Little Finger” will be released on November 1st, 2017 and is the duo’s third album after “The Grizzled Mighty” (2011) and “Closed Knuckle Jaw” (2015). With only nine songs and just over 35 minutes of playing time, “Crooked Little Finger” is a comparatively short album that offers a lot of variety without losing its common thread. 

The first song on the album and at the same time the first single is “Set A Light” which proves with its catchy guitar riff in the first part of the song directly earwig potential. In the second half, the song picks up again and makes “Set A Light” a perfect prelude to this album. In the same style and no less rocking, it continues with “Cabin Fever” on. The Grizzled Mighty not only powerfully rocking can prove it then with the song “Get Your Head Right”, which provides for some slowing down after a turbulent beginning. 

With “Make Your Bones” and “The Shine” the whole thing picks up again. But it takes until the songs “Skin” and “No Flow” until “Crooked Little Finger” reaches its initial level and starts the final spurt. The title track can be heard here last. “Crooked Finger” is especially for friends of distorted guitars that come in the second, purely instrumental, part of the song fully at your expense. 
Crooked Little Finger is a great album that not only fans of The White Stripes or the Black Keys can enjoy. The 35 minutes pass by and it seems even shorter when listening. It would have liked to be one or two songs more. It should have been a bit more vocal too, at least as far as the volume of some songs is concerned. From me nevertheless a very clear recommendation to listen to this album at least once…

The Rock'n'Roll duo The Grizzled Mighty is said to be particularly tough and powerful in the game, the lines of the media information on the recently released album “Crooked Little Finger” can be seen. There is also talk of erotic riffs, fire rain, a blazing volcano and Thors Hammer. First hearing impressions are quite promising. At the end of November, the band from Seattle will be guests in Hanover and are expected for a Ruby Tuesday evening at Café Glocksee. 

In recent years, people have become accustomed to duo occupations in the local, regional, national and international music scene. There have been and still are some formations that prove that it is possible to serve strong and punchy indie / alternative, rock, blues or rock'n'roll in pairs. Prominent bands include a fast act like The White Stripes, The Black Keys or Blood Red Shoes. 

From Seattle, Washington, The Grizzled Mighty comes to guitarist and singer Ryan Granger and drummer Faustine Hudson. These two are neatly set in the direction of heavy psychedelic blues rock, but are officially presented as a pure, uncompromising rock'n'roll band that can keep up with the big names of the guild, as the media information shows. 

On the 1st of November The Grizzled Mighty released their current album “Crooked Little Finger”, which will soon be presented live with an extensive tour of Germany, Austria and Switzerland. 

Over pure Rock'n'Roll one seldom drops many descriptive words, often this does not seem to be necessary. The band and their environment are still effective and likely to make curious rock fans who have not yet known the duo: “The Grizzled Mighty sprang from the fiery body of a blazing volcano (…)”, it says in the official description, but that’s not all: “(…) Ryan (meaning the guitarist -d.Red.) rose from the ashes of destruction, guitar in hand, bringing the erotic riffs of Hades to the quivering surface. Faustine (the drummer -e.Red.), Sybillin of evil and bearer of chaos, fell down like a fire rain, blaring like Thor’s hammer (…)…..By: Redaktion…

01. Set A Light 
02. Cabin Fever 
03. Get Your Head Right 
04. Make Your Bones 
05. The Shine 
06. Skin 
07. No Flow 
08. Everybody Knows 
09. Crooked Fingers 

The Neptune Power Federation “Neath a Shin Ei Sun” 2017 Australia Heavy Psych ,Stoner Rock,Glam Metal,70`s Rock

The Neptune Power Federation “Neath a Shin Ei Sun” 2017 Australia Heavy Psych ,Stoner Rock, Glam Metal,70`s Rock, Edition of 150 copies.
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Another volume of occult-laced acid rock 
Less than a year on from the soundtrack album of their guitarist’s graphic novel, this group of renegades from 90s punk bands has returned with another volume of occult-laced acid rock. 

Expanding their minds and those of everyone around them, The Neptune Power Federation have delved further into the psychedelic miasma of fuzzy guitars and rocking riffs as they become more deeply entangled in the arcane. Leading them on their journey into Sabbathian realms is winged goddess Screaming Loz Sutch who invokes spells esoteric and obscure in a voice of astonishing power and range. 

The tone is set early when the fat riffs and rocking pace give way to an arcane sermon mingled with choirs and guitar noodlings so that the path the band is about to take is anything but predictable as it moves through various shades of psychedelia, garage rock and old school heavy metal guitar attacks. ‘Sup thy Potion’ is a classic desert rocker, ‘Opium Den’ a cranking uptempo galloper and ‘Way of the Wizard’, complete with a guitar lick stolen directly from ‘Phantom of the Opera’, is flat-out NWOBHM-inspired goodness. 

‘We Shall Triumph’ is where the Federation bring it all together, as if the journey of the last three albums has led to this point. Perhaps one of the most 70s songs recorded since the actual 70s, ‘We Shall Triumph’ is a combination of one of early Queen’s mini-epics passed through a psychedelic filter of Sabbath Bloody Sabbath and pre-Killing Machine Judas Priest, sinister but triumphant and musically dextrous verging on rock opera. Not only is a glorious end to the album, it is a shining statement of the band’s career so far……by Brian Giffin……

Oh boy, it’s time to have some fun. Yeah, you heard me; The Neptune Power Federation is here to deliver the vibes first created in the heat of the mid-late 60’s, blending off the cuff science fiction, bright colors and fuzzy guitar riffs into one heady concotion. Remember when heavy metal/rock was all about that? The early 70’s were all about your Iron Maidens (who are quoted directly on “Way of the Wizard”, a track on the album we’re going to discuss here), Led Zeppelins and Judas Priests, bands drawing their influence right from a drug-hazed, sex-filled vision of the New Age occult in America. Sure, it produced a lot of nonsense but it also provided metal and rock with the fuel they needed for their great flourishing. 

The Neptune Power Federation are here to bring those days back. Their upcoming Neath A Shin Ei Sun is chock full of great stoner rock riffs and psychedelic touches, the crowning glory of which are the amazing vocals and their wide use of choirs on the album. Bundle that up with some great lyrics and a bold approach to changing the genre as fits the music, and you get The Neptune Power Federation. What in heaven’s sake are you still doing here? Head down below for your first taste!
I’ll be honest with you, the first passages of the title track from the album didn’t grab me too hard at first. I mean, they’re all great but pretty standard. However, closer to the end of the track, you suddently start hearing the choirs added to the vocals and your ear perks up. Then, the music breaks and a segement straight from the musical “Hair” comes on, the guitars break out in a glorious solo and the vocals amp everything up and notch and bam! You’re sold. 

The opening track, being the first track released from the album, is a fantastic intro but it’s made all the more powerful by the closing track, which was released as the second single. “We Shall Triumph” is a much more expensive track, clocking in at over ten minutes. It also takes more influence from Rush or Queen, interjecting the psychedelic rock vibe with lots of emotion and melodrama. Featuring a meaty main riffs and vocals flirting with Rob Halford, “We Shall Triump” is an ambitious closing track, ending the album on a high note. It also flows expertly, bordering the lines of progressive rock without giving way on how much fun and energy it brings to the table. 

Which is The Neptune Power Federation in a nutshell: it’s accessible, it’s fun but it’s also very well made, not willing to sacrifice quality for humour and lightheartedness. And why should it? Who said music has either to be accomplised or fun? Suits, that’s how! Resist their dull ways and open your third eye to the flooding pink light emanating from the mother that is The Neptune Power Federation; you won’t regret it……BY EDEN KUPERMINTZ 

The third full-length outing for the Australian psychedelic particle accelerator that is The Neptune Power Federation, Neath A Shin Ei Sun is a tour de cosmic force of seemingly disparate sonic ingredients brewed together to produce not only a balanced, fully digestible product, but a potent, deeply exhilarating product at that. This album is no flash in the pan either. It is the whole damn cauldron kicked over and it’s fiery mind control potion escaping into the neighbourhood and beyond in a blinding burst of atomic light. 

In Depth: 

Your author admits that prior to discovering Neath A Shin Ei Sun – a discovery he is grateful to having been given the opportunity to fully explore well in advance of the album’s release date – that he had never before heard The Neptune Power Federation. It is perhaps not a bad thing in this instance, what some might call a “jumping onto the bandwagon.” The opportunity to approach the release with the pitfalls of pre-conceived notions or expectations of what the band ought to sound like -to his mind- absent, have allowed an unfettered listening experience. 

The album opens with title-track Neath A Shin Ei Sun – a mystical sounding phrase adorning a song that effortlessly sets the tone for the preaching of this namesake book of eight transcendental gospels. It does so with vocalist Screaming Loz Sutch at her rightful place behind the pulpit, enticing an eager congregation to “touch the future.” Whereas one, as your author initially did, might picture the faithful garbed in pristine white robes and the associated sense of purity, it is soon clear that beneath those robes are leather jackets, torn jeans, and a desire to rock their way onto higher planes – into the Shin Ei Sun. The band is clearly tight-knit, musically. Bassist Jaytanic Ritual and drummer Mr. Styx hold the track together and carry its overall rhythm and direction forward as masterful horsemen, providing ample means for guitarists Inverted CruciFox and Search & DesTroy, the remaining two-quarters of our four horsemen of the audio-pocalypse, to lay down some seriously searing, well-honed ax-wielding. 

Track two, Edmunde, further showcases such talent for both composition and delivery but manages like all performances preserved in the collection to avoid any of the unnecessary showmanship that can possess someone who knows their way around a fretboard or drum kit. This is not to say that the music recorded here comes through as unnatural in any way. Quite the opposite in fact. Despite overall production values (which I must add are themselves clean, but not clinical) I would not be surprised to learn if the band jammed these tunes across a single week. Beer for breakfast. Hallucinogenic delights for lunch. Seance mid-afternoon followed by an hour between the cables, mixing desks and amplifiers. Early Black Sabbath style. 

And “Black Sabbath” style I mention on purpose. There are many bands these days sporting an interest in the occult -there has been a significant resurgence, in fact- and many of these bands, female-fronted, have a backdrop very much drawn from all that was early Black Sabbath. Many of them are very good. Fantastic, in fact. It is nevertheless refreshing though to hear a band who -to these ears, at least- draw as much inspiration from Motorhead than those other bands do the mighty Sabbath. This is evident on the LP’s third track, Opium Den. It is not the shortest track on the album but when it achieves its maximum velocity, it certainly feels that way. It encompasses the “disparate sonic ingredients” touched on at the beginning of this article. Vocals that are often a silkier, easier on the ear Joplin-esque affair with notes of Grace Slick (all be it faster and, dare I say, with more balls) are often carried along by drums that Phil “Philthy Animal” Taylor would be proud of; bass that Gary Justin ala Sir Lord Baltimore would be more than satisfied with, and guitars that would definitely feel at home on any Admiral Cloudesley Shovell release, grease and all. Comparisons between artists are always tenuous and often specific to the listener but the point is, these guys are beyond the Sabbath worship that permeates the field today. 

The album continues and the elements conspire with Electric Fairies, a memorable song that would make an excellent single; Burning, a sure-fire floor filler; Sup Thy Potion, a track that has just enough driving rhythm to make of it a fine alternative to Fu Manchu on those long desert drives; taking us to the cusp of penultimate track Way of the Wizard, a stunning 70’s fuelled retro rocker that will surely please traditional metal fans. This is a four-song strong mid-section that would be worth its weight in pure platinum had it been released without the remarkable opening tracks and the forthcoming closing epic. It feels wrong to delve into too much detail concerning each of them, both as the album at the time of writing has not yet been released, and because you ought to be given the gift that is the full joy of discovery as I have. 

I will, however, entertain a little more detail when it comes to that aforementioned epic – closing track We Have Triumphed. Those hearing this piece outwith the context of the album may in its opening minutes be fooled into thinking they are dealing with a more prog rock affair than they are. What with the piano and the plucked staccato string sounds it would be easy to adopt that view. Should you not feel much for prog rock, you may make the grievous mistake of tuning in elsewhere before things truly get underway. Veer not from the path before you, though, for there lays ahead the grandiosity of the greatest prog releases, yes, but coupled with the kind of hard guitar rock dexterity and rhythm section cohesion -along with all the synthesised flourishes used in subtle abundance throughout the album- that you would expect to find on the lengthiest more interesting Queen tracks, for example. Again, comparisons. They are awful things sometimes. When used though to highlight just how far-reaching and all-encompassing an album as complete and well-rounded as this one is, well. If nothing else they serve as a limited indication of the scope. The longest track on this album is a truly brilliant and fitting end to a collection of songs that many heavy music fans -garage rockers, psychedelic aficionados, stoner diehards and traditional metal fans to name but a few- will find something both beautiful and something to passionately bang their heads to. 

The Verdict: 

The Neptune Power Federation have triumphed. There is much more that could be said but as with the finest albums -both of this generation and those that came before- the music truly does the talking. Neath A Shin Ei Sun is a first class album. It is an album the band should be immensely proud of and an album that many will be proud to add to their collection. Having a little bit of everything woven together in what could easily be described as a rock opera tapestry, it has it all…… BY JD QUENZER…

Screaming Loz Sutch (Lauren Whalley): Vocals 
Inverted CruciFox (Mike Foxall): Guitar 
Search & DesTroy (Troy Vod): Guitar 
Jaytanic Ritual (Jason Whalley): Bass 
Mr Styx (Dean Bakota): Drums


A1 Neath A Shin Ei Sun 5:32 
A2 Edmunde 5:00 
A3 Opium Den 3:49 
A4 Electric Fairies 5:11 
B1 Burning 3:07 
B2 Sup Thy Potion 2:45 
B3 Way Of The Wizard 3:18 
B4 We Shall Triumph 10:09 

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