Side effects (The Rolling Stones) (LP 4707 - 4709)

Steeleye Span  Live at Last! (Vinyl, Chrysalis Records, 1979) *** 

The Rolling Stones  Foreign Tongues (CD, Polydor Records, 2026) ****  

Anthony Williams  Spring (Vinyl, Chrysalis Records, 1966) *** 

Genre: Folk rock, rock, jazz

Places I remember: Vinyl Countdown, JB Hi Fi

Fab, and all the other pimply hyperboles: Rough and Twisted (Stones)

Gear costume: Montrose (Steeleye Span)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: This post reviews three albums from a recent trip to New Plymouth and Palmerston North that cover three very different genres.

The Steeleye Span live album is both their first live album and final album of the seventies. It features Martin Carthy amid the band's gloriously updated folk rock sound. Honestly - any album featuring the combined vocals of Maddy Prior, Tim Hart and the others is worth hearing. 

Maddy is in great form here and she makes the album come alive. The Highlight is the lengthy Montrose and an expanded version of The False Knight on the Road which was originally from their 1971 album Please to See the King.

The latest Stones album has arrived in shops and like Hackney Diamonds, it is produced by Andrew Watt. He again achieves some great results from the threesome (Mick, Keef and Ronnie) plus guests (Macca again plays bass on one song).

It's not as consistently brilliant as Hackney Diamonds, but it is still a solid set of Stones songs with some familiar touches - the falsetto vocal songs, a country song and Keef's song all making an appearance.

Remarkably, Mick Jagger's vocals seem untouched by the years. He's remarkable!

Tony Williams (billed as Anthony here) is an amazing drummer. This was his second album as leader. He assembled a stellar cast for the album -  tenor saxophonists Sam Rivers and Wayne Shorter, pianist Herbie Hancock and bassist Gary Peacock.

The sub genre of jazz that is on offer here - post bop or modal jazz, is one step away from free jazz and it's an acquired taste. I don't mind being challenged by music but a lot of post bop is at the outer limits of my taste.

When they settle into a more lyrical stride I'm more on board, as on side two with both Love Song and Tee. That's largely down to the wonderful playing of Herbie Hancock on piano. I'm much more content with those than I am with the wild shronking horns of Extras which leads off side one. Even then though, there are things to learn, and it's good to stretch the taste boundaries from time to time.

Where do they all belong? Three excellent additions in three different genres.

Medicated goo (Traffic) (LP 4703 - 4706)

Traffic  Last Exit (Vinyl, United Artists Records, 1969) ***  

Traffic  John Barleycorn Must Die (CD, Island Records, 1970) ***** 

Traffic  The Low Spark of High Heeled Boys (Vinyl, Island Records, 1971) *****   

Traffic  On the Road (Vinyl, Island Records, 1973) ****  

Genre: Rock, prog rock, jazz fusion

Places I remember: Real Groovy Records, Fives, Spellbound Wax Co.

Fab, and all the other pimply hyperboles: The Low Spark of High Heeled Boys

Gear costume: Medicated Goo (Last Exit)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: Last Exit is a weird place for me to start. It was their third album and swansong, as in they'd broken up so this was a cobbled together album with side one being made up of A and B sides and side two a live selection from 1968 at the Fillmore. The original members of Traffic all appear - Steve Winwood, Jim Capaldi, Chris Wood, and Dave Mason.

Given the cynical approach by Island Records to capitalise on the band's popularity, it's an interesting collection with Medicated Goo being the clear standout song.

After a brief sidetrack into Blind Faith, Traffic reunited as a trio without Dave Mason for John Barleycorn Must Die. The cover always gave me the impression that it was a folk album but instead it's a jazz fusion sound, apart from the title track. Although Steve Winwood is the true star, the players jam and mesh together superbly on this album - a classic from 1970.

The Low Spark of High Heeled Boys is my favourite Traffic album. It replays repeat listens as I can attest, given I played this album dozens of times over the years.

The jazz, folk stylings are given full flourish on Low Spark with everyone, including guests Jim Gordon, Ric Grech, Rebop on top of their games.

On the Road is a live album with only four stretched out tracks. The Low Spark of High Heeled Boys is three minutes longer than the album version - which I appreciate. It's an excellent song and ripe for some jamming/ extrapolation of themes. Barry Beckett on keyboards is a great addition to Steve's organ.

The whole album is pretty fine, as it happens, although it does come across as excerpts from a concert tour in Germany, rather than a cohesive live album experience.

Where do they all belong? I'd be keen on other Traffic albums if I come across them in my travels, particularly their first two - Mr, Fantasy (1967) and Traffic (1968).

Time is passing (Pete Townshend) (LP 4701 - 4702)

Pete Townshend  Who Came First (Vinyl, Track Records, 1972) ***  

Pete Townshend, Ronnie Lane  Rough Mix (CD, UMC, 1977) ****  

Genre: Rock, country rock 

Places I remember: Chaldon Books and Records, HMV

Fab, and all the other pimply hyperboles: Pure and Easy (Who Came First)

Gear costume: My Baby Gives It Away (Rough Mix)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: Who Came First (great cover and great title) is Pete Townshend's first solo album.

It's a bit odds and sods in that it includes some Lifehouse project demos as well as some reworked material from Meher Baba tribute albums and some additional songs. Weirdly, a Ronnie Lane song in which he sings with Pete adding guitar and a song by Billy Nichols without any participation from Pete. So, it's all a bit uneven, although well played and a lot of fun.

Fun is also the watchword for the collaboration with Ronnie Lane. His rollicking sort of folk rock is the stylistic default for Rough Mix, although not as roughshod as his work with Slim Chance (that's a good thing btw). 

It's a relaxed, understated effort that has a universal type of appeal, making it a highlight in both their careers.

Where do they all belong? Only the two solo albums by Pete, although I have a lot of Roger Daltrey's. I put that down to my preference for Roger's vocals more than anything else. That translates to no great desire to buy other solo albums by Pete.

Lucky girl (Marianne Faithfull) (LP 4700)

Marianne Faithfull  Faithfull Forever (Vinyl, Decca Records, 1966, reissue 2024) ***  

Genre: Folk, Pop 

Places I remember: JB HiFi

Fab, and all the other pimply hyperboles: Tomorrow's Calling  

Gear costume: In the Night Time 

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: This was her third American release. Originally released in 1966, it conformed to the American predilection for messing with the UK releases. So this combines some 1966 singles with songs that would show up on her 1967 UK LP Love in a Mist, and various leftovers, some of which were never released in the UK.

All very messy and unnecessarily so, but that's American record companies for you. As for the music - light mid-sixties pop with florid flourishes thanks to Mike Leander's arrangements and production. Marianne appears to be a confident vocalist within this folky, light pop context.

Where do they all belong? As far away from Broken English as she could get really.

Life is all dynamics (Devin Townsend) (LP 4696 - 4699)

Devin Townsend  Infinity (CD, From Keegan, 1998) *** 

Devin Townsend  Ziltoid the Omniscient (CD, InsideOut, 2007) ****   

Devin Townsend Project  Ki (CD, From Keegan, 2009) **** 

Devin Townsend Project  Ghost (CD, From Keegan, 2011) *** 

Genre: Heavy metal, prog metal, dream pop 

Places I remember: Three from Keegan and Ziltoid from Real Groovy Records.

Fab, and all the other pimply hyperboles: Hyperdrive (Ziltoid)

Gear costume: By Your Command (Ziltoid), Disruptr (Ki)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: Keegan is a fan of Canadian musician Devin Townsend, so he gave me three of his albums as CD-Rs.

Affinity was Devin's third solo album (he's very prolific) which came after a stay in a mental health facility where he was diagnosed with a bipolar disorder. That explains how all four of these albums are so different in approach - from shredding heavy metal to prog to comedy/satire to dream pop.

Affinity has dated a little in its approach, in that its guitar shredding dynamics haven't lasted as well into the 2020s.  

His concept album, Ziltoid the Omniscient, impressed me enough for me to buy my own copy. I'm a big fan of Captain Kremmen of the Star Corps - an invention of DJ Kenny Everitt, and Zappa's shaggy dog stories (Apostrophe, Billy The Mountain). Ziltoid reminds me a lot of that pastiche approach. Ziltoid travels to Earth in search of the universe's ultimate cup of coffee, which he fails to do so invades Earth. Of course.

The album is pretty much a solo one with everything played by Devin Townsend. He's a talented guy. As AllMusic says: Townsend's work is consistently excellent, but here he fully taps his mad genius for an incredibly compelling experience. All of Townsend's signatures -- bright melodies, heavy guitars, complex composition, clear production, and tongue-in-cheek grandeur.

Ki is the first album from Devin Townsend Project and a change in style from previous releases as it encompasses more ambient rock music along with bursts of heavy metal. It dispenses with the busy in yer face loud approach of the past and has a more restrained, fluid sound. I like it a lot!

Ghost is another departure that builds on Ki. It takes us into a mellow dream pop land. The title Ghost is very appropriate as acoustic guitar, flutes and synths provide a lovely bed for DT's quiet is the new loud vocals. 

Where do they all belong? The wacky wonderful world of Devin Townsend - thanks for the introduction Keegan.

Pick myself up (Peter Tosh) (LP 4695)

Peter Tosh  Bush Doctor (Vinyl, Rolling Stones Records, 1978) ***  

Genre: Reggae

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: (You Gotta Walk) Don't Look Back

Gear costume: Bush Doctor

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: I don't have much of a frame of reference for Peter Tosh, but this commercially minded album feels and sounds like reggae lite to me. Which is amazing given the appearance of the Sly Dunbar and Robbie Shakespeare rhythm section.

This was Tosh's third album after he left The Wailers, and has a Rolling Stones connection - which formed part of the appeal for me. The Glimmer Twins produce, it's on Rolling Stone Records, Mick sings on the hit single and Keef even plays guitar on two tracks. 

I'm not a fan of synths and they intrude on a few tracks without much purpose. The songs aren't particularly memorable either, apart from (You Gotta Walk) Don't Look Back. All up, it's a missed opportunity.

Where do they all belong? Sticking with Sly and Robbie, Bob Marley, The Heptones, Toots, Third World et al, rather than trying more Peter Tosh solo albums.

Hush (Tool) (LP 4690 - 4694)

Tool  Opiate (CD, Zoo Entertainment, 1992) ***  

Tool  Undertow (CD, Zoo Entertainment, 1993) ****  

Tool  Ænima (CD, Zoo Entertainment, 1996) ***  

Tool  Lateralus (CD, Volcano Records, 2001) ****  

Tool  10,000 Days (CD, Volcano Records, 2006) ****  

Genre: Prog metal, heavy metal

Places I remember: JB Hi Fi, HMV, Fives

Fab, and all the other pimply hyperboles: Schism (Lateralus)

Gear costume: Sober (Undertow), The Pot (10,000 Days)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: Tool began with the Opiate EP in 1992 before their first full album, Undertow. At this point Tool were Maynard James Keenan – vocals, Adam Jones – guitar, Paul D'Amour – bass (he would leave after Undertow), and Danny Carey – drums. Keenan's vocals are a strength and they immediately identify the band.

I've included it on this post because as AllMusic points out, 'it's possible to hear the seeds of Tool's oppressively bleak, cerebral metal' over the course of the 6 tracks (plus one hidden after Opiate).

Incidentally, I fail to see the point of the 'hidden track' concept generally. To my mind, if it's good enough then it should be included as a proper track, not hidden a few minutes after the last song ends. Thankfully, the practice seems to have died away with the resurrection of the vinyl industry. Good job!

Although it wasn't grunge, Undertow was a standout album in the grunge era (early nineties) with its sludgy heavy bass/drum sound. Keenan's assured vocals are a continued highlight and the whole band perform as a solid unit. 

Critic, David Browne summed up their other strengths:  Tool can crunch and lumber about with the best of them. What put this L.A. band a notch above the rest are better songs (with actual verses, choruses, and hooks-check out the terrific "Prison Sex") and the hints of vulnerability in singer Maynard James Keenan's voice'.

Ænima was an extension of Undertow, with a more experimental mindset. There are more exotic sounds and more alt metal sounds than on the debut - which, overall, I prefer to Ænima, although I do like that they are moving into a more progressive stance on Ænima. Ultimately, I find it an inconsistent album with some of the ambient metal noises a bit annoying.

Their third album was Lateralus, which came five years after Ænima  because of a legal dispute. It's more focused than album number two, with the band perfecting their signature throbbing, pulsing, bludgeoning metal sound. However, it's 10,000 Days that I like more.

For me, the more ambient tracks work better than on previous albums and it has a more melodic metal approach while still being recognisable Tool. The epic songs work too, each song has a prog metal approach that works.

Where do they all belong? They have produced a further album but I'll stick to these ones.

Show the world (Chapta) (LP 4684 - 4689)

Chapta  Open Door (Vinyl, HMV Records, 1972) ***  

Rob Grant  Lost at Sea (Vinyl, Decca Records, 2023) ***  

Grin  All Out (Vinyl, CBS Records, 1972) ***  

Michael Nesmith  Pretty Much your Standard Ranch Stash (Vinyl, RCA Records, 1973) *****  

The Beatles Live on Air (8CD, Bootleg, 2023) *  

The Partridge Family  Crossword Puzzle (Vinyl, Bell Records, 1973) ***  

Genre: NZ music, pop, rock, ambient piano, country rock, Beatle pop, bubblegum pop.

Places I remember: Music fair in Waipukarau (Chapta and Nesmith); JB Hi Fi (Grant), Tron Records (Grin and The Partridge Family)

Fab, and all the other pimply hyperboles: Some of Shelly's Blues (Nesmith)

Gear costume: One Day at a Time (The Partridge Family)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: These albums come from a recent visit to Hamilton and a record fair which had returned to my local Central Hawke's Bay town. I was pleased to grab a couple of records for under $50, which is pretty reasonable these days.

South Island's Chapta were a presence in the early seventies in NZ. Say A Prayer was the high point from the Loxene Golden Disc of 1971. 

Peter Dawkins produces their second album - Open Door, which was untroubled by hits (unfortunately). The album is very much of its time in NZ with an eye for various markets. The band collapsed after the album with Dave Kennedy (guitar, vocals, drums) going on to form Link.

Highlights on the album are the Procol Harum sounding I Can See You/Open Door, thanks to the organ by Ledlie Cleland and the soft rock You and I.

Rob Grant is Lana Del Rey's dad and so I took a punt after reading the Pitchfork review while browsing in JB. It only cost $10 so I'm happy I shelled out. The two tracks featuring Lana's vocals are the obvious highlights, but Rob's ambient languid style on the piano instrumentals are good moody pieces. Not bad for an old salt.

That's two down, both with crappy covers. Make that three with Grin's All Out. What's that about? Don't these people want to sell records?

Grin's All Out was the band's third album. The band was centred around Nils Lofgren on guitar, plus he composed all the songs. I always had Grin down as a hard rock band but in fact Nils' predilection is more for melodic pop/rock. That said, the Crazy Horse sound is also a marker at times (Don't You Belong is a good example), and Kathi McDonald's bluesy and at times soulful vocals are a highlight on She Ain't Right. 

Michael Nesmith (no longer Mike of The Monkees) breaks the run of poor covers with this iconic portrait and the message beside the twice shy wink, 'Buy this record'. Red Rhodes is again onboard for a stellar set of songs. These include an old Monkees' obscurity - Some of Shelly's Blues. The rest of the songs are in the same brilliant league as that, with the Nez' warm country flavoured vocals making this a classic album.

The Beatles Live on Air is not to be confused with the BBC sets and is for hard core collectors only. It's a bootleg (unauthorised) collection of mostly Let It Be sessions that have appeared on various bootlegs over the years. The 8 CD set also includes snippets of Beatle interviews, the Esher demos for The Beatles (a.k.a. The White Album) which are better heard on the box set reissue of that album, and a badly recorded Fabs' live show (top heavy on the bass).

Although there are duplications throughout the CDs, the good news, yes there is some, is that the LIB sessions sound good and they can replace the Beatles' bootlegs I lost in a house move a few years ago.

The Partridge Family's seventh album, Crossword Puzzle, is another classy affair that utilises the cream of LA's session musicians such as Hal Blaine (drums), Larry Carlton (guitar), Joe Osborne (bass), and Larry Knechtel (keyboards).  Those guys are great with David Cassidy's warm and smooth vocals on top. Apparently Shirley Jones is also on the album but I'm blowed if I can hear her.

There's no doubt the record company's desire to make hay while the sun shone led to an oversaturated market and some filler on the records, but Partridge Family records remain on my wants list.

Where do they all belong? Back to the T's with Tool next up.

Love is the way (Tole Puddle) (LP 4683)

Tole Puddle  In Search of a Breath of Fresh Air (Vinyl, Interfusion Records, 1976) ***  

Genre: Folk rock, NZ Music

Places I remember: Vinyl Countdown

Fab, and all the other pimply hyperboles: Diggy Liggy Lo (sadly, not on Spotify or YouTube)

Gear costume: Too Late to Cry and Trilogy are on YouTube.

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: I have very fond and vivid memories of Tole Puddle performing a lunchtime concert at Mt. Albert Grammar School around this time - 1976 was my last year at MAGS. I wonder why that is - this wasn't what I was listening to in 1976. I mean, at all. But I sat on the grass in front of the sports pavilion as they did their lively set.

The band on this album (recorded in Aussie) was set up like a NZ version of Steeleye Span, with Diane Halsey and the boys (Dave and Graham Marett, Greg Bartlett)  giving the band that lovely male/female vocal harmony. Diane's husband (or brother?) John was also a Tole Puddler on guitar and harmonica.

The music is flavoursome folk rock with the key strengths being the band connectedness and those vocal harmonies.

Where do they all belong? Their only album and something of a collector's item these days.

Country high (Ticket) (LP 4681 - 4682)

Ticket  Awake (CD, Aztec music, 1971, 2010 reissue) ****  

Ticket  Let Sleeping Dogs Lie (CD, Famous Down Under Records, 1972, ) ****  

Genre: Rock, NZ music

Places I remember: Electric City Music

Fab, and all the other pimply hyperboles: Country High (Awake)

Gear costume: Gypsy Rover (Let Sleeping Dogs Lie)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: Ticket was a NZ rock band that loved bands like Traffic and The Jimi Hendrix Experience (a big influence on Eddie Hansen, guitar hero of Ticket).

These two albums are brilliant examples of NZ bands being influenced by rock gods and then channeling their influences into a uniquely NZ hybrid.

Apart from Hansen, the band included future Hello Sailor drummer Ricky Ball, and Paul Woolright on bass, and the distinctive vocals belonged to Trevor Tombleson.

Throughout both albums, Eddie plays some inspired guitar and Woolright has a great jazzy bass sound going. Country High was the big hit and is typical of their Hendrixian subject matter and spacey acid drenched music. Very much of its time! 

Where do they all belong? Eddie went on to join up with Harvey Mann in Living Force for more of the same. I don't have their album because copies change hands for silly money.

Play the harp (John Mayall) (LP 4679 - 4680)

John Mayall  Lots of People (Vinyl, ABC Records, 1977) ***  

John Mayall  No More Interviews (Vinyl, DJM Records, 1979) ****  

Genre: Blues rock 

Places I remember: The Little Red Bookshop

Fab, and all the other pimply hyperboles: Room to Move (Lots of People)

Gear costume: Play the Harp (Lots of People)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7; Part 8

Active compensatory factors: These two albums come from a recent visit to The Little Red Bookshop in Hastings.

Lots of People is a live album, recorded at the Roxy in Los Angeles in 1977. Mayall employs a big horn contingent for this one. The highlight is still Room to Move with a new arrangement to accommodate those horns.

No More Interviews is a studio album from 1979 (in between the underwhelming Bottom Line and Road Show Blues - also on DJM Records). It's a spirited affair with Mayall trying out some new sounds that come with a commercial bent. It's a fine album to end the seventies - pity that it's not on Spotify.

Where do they all belong? I'm sure these won't be my last John Mayall albums - the man was certainly prolific.

Do the best you can (Billy Thorpe) (LP 4672 - 4678)

Billy Thorpe  Million Dollar Bill  (Vinyl, Infinity Records, 1975) ***  

Billy Thorpe  Pick Me Up and Play Me Loud  (Vinyl, Infinity Records, 1976) ***  

Billy Thorpe  Children of the Sun  (Vinyl, Capricorn Records, 1979) ***  

Billy Thorpe  21st Century Man   (Vinyl, Mushroom Records, 1981) ** 

Billy Thorpe  Stimulation  (Vinyl, Mushroom Records, 1981) *** 

Billy Thorpe  East of Eden's Gate  (Vinyl, Pasha Records, 1982) ***

Billy Thorpe  Solo - The Last Recordings  (CD, Liberation Records, 2007) ****

Genre: Rock

Places I remember: Record shop in Melbourne, Slow Boat Records, Real Groovy Records.

Fab, and all the other pimply hyperboles: Girls of Summer (Solo),  I Really Miss You on YouTube (Million Dollar Bill)

Gear costume: It's Almost Summer (Million Dollar Bill), I Can't Stand It on YouTube (East of Eden's Gate), Since You Been Gone (Solo - on YouTube)

They loom large in his legend (The Album Collection playlists): Part 1; Part 2; Part 3; Part 4; Part 5; Part 6; Part 7

Active compensatory factors: Billy's solo debut, Million Dollar Bill, was a new look in some ways with horns, strings as well as the usual pop smart hooks getting a look in. It was also the old Aztecs in disguise - with Gil Matthews, Warren Morgan, and Billy Kristian all appearing. The album under his own name was a statement of intent, Billy was back and doing it his way.

It's a bit inconsistent as Billy tries out a variety of styles, which generally sound sharp and in the pocket thanks to the production by Peter Dawkins (NZ's finest). Billy also includes a Beatles' cover (Drive My Car) and tries out a theme song (Theme from Million Dollar Billy). So, although commercially successful, it's a transitional album in some ways as Billy looks for a way forward as a solo artist via some funk/ rock music.

Pick Me Up and Play Me Loud came next in 1976, with the same lineup as Million Dollar Billy. It's a Billy Thorpe album, even if it's confusingly got 'Billy Thorpe and The Aztecs' on the cover!

It's similar to Million Dollar Billy in that he goes for a funk rock approach and even re-records Most People I Know (not sure why). The highlights are Bassballs and Long Live Rock'n'Roll.

The third album, Children of the Sun saw a few massive changes as Billy settled in America and used a few American session vets on the album (Leland Sklar on bass and Alvin Taylor on drums). The first side was a set of basic rock songs while side 2 features a full-blown nutso concept piece about the massive transportation of humans to a new world in outer space somewhere. Okaaaay.

Billy had indulged in lengthy tracks in The Aztecs years, fueled by acid trips, but I'm not sure whether Children of the Sun was similarly inspired. Whatever the case it's quite good as it happens, at least musically speaking. As with many concept albums the storyline makes my eyes glaze over.

The eighties dealt to many a seventies rocker and Billy is no exception. His first album of that synth led decade was 21st Century Man. Gil Matthews returns on drums, Leland Sklar on bass and Billy the rest. It's pretty meh but okay if you'd never heard him at Sunbury. 

Stimulation was a second album from 1981. On side one he moves away from the proggy psych rock of the previous two albums and returns to a more stripped back rock sound, which suits him a lot more. Gil provides the solid base and the drums at least sound like he's playing them again, while Billy rediscovers his guitar prowess at long last.

Side two is largely back to eighties synths/beats and it doesn't work as well to my ears. Not terrible, but I prefer side one.

The same dualism works for East of Eden's Gate. Some songs have the more synth driven approach, while others feature Billy showing again why he matters as a guitarist. If all of the tracks were as strong as I Can't Stand It this album would have been a monster.

The final album in my collection is Solo: The Last Recordings (although he was working on a studio album when he died called Tangier - which I'd love a copy of at some stage).

Solo is just Billy on guitar and voice - doing it his way, as he lived his life. The liner notes mention that he lived a thousand lifetimes in one, and that sums it up nicely, as does this double CD. It's superb and Billy's stories are a hoot! 

Where do they all belong? That's it for Billy Thorpe for the moment. He's a crucial guy in Aussie rock and his early death was a cruel blow for this larger-than-life rocker. His two autobiographies are awesome as well and work checking out.