Galapagos Duck – Magnum (1977)

LPFrontCover1Galapagos Duck began in the late 60’s while the members were engaged in a winter season at the New South Wales skiing resort ‘The Kosciusko Chalet’ Charlottes Pass. After returning to Sydney band continued to work and became well known in the Australian Jazz and music scene during the 70’s when it was the house band at the emerging Jazz night club ‘The Basement’ near Circular Quay.

Since these humble beginnings the ‘Duck’ it has been suggested, has become the best known jazz band in Australia and a household name throughout the Country.

The band has worked and continues to work in Concert Halls, Night Clubs, at Jazz Festivals, in the Recording Studio, and on Radio and Television.

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Although the membership has changed, of necessity, the direction of the band has always remained the same and that is to create a performance experience that while jazz oriented is able to be appreciated and enjoyed by everybody.

Based in Sydney Australia the Galapagos Duck was an integral part of the foundation and success of the Jazz Club The Basement.

The band performed in the club continuously for 16 years during which the Basement became known as one of the greatest Jazz Clubs in Australia and the World. The ‘Duck’ also toured extensively all throughout Australia visiting the Capital cities on many occasions and performing frequently in country areas including the remote areas of Western Australia and the Northern Territory.

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International performances have included the following festivals:

Montreaux Jazz Festival in Switzerland
Jazz Yatra Festival in Bombay (Mumbai)
Musexpo in U.S.A
Manilla Jazz Festival in the Phillipines
Singapore International Jazz Festival
Queenstown Jazz Festival in New Zealand
Norfolk Island Jazz Festival
Lord Howe Island
Vanuatu Jazz Festival

Aside from festivals there have been extremely successful performances in England, Germany, France, Switzerland, Belgium, China, Indonesia, Vietnam, Thailand and Laos. Having always drawn members from the very best of Australian musicians the Band has shown its versatility through work with Dance including:

‘Superman’ with the Australian Ballet
‘Austorizon’ with the Australian Dance Theatre (choreographed by Ross Coleman) in Adelaide
A Work for the Comscapes Dance Company Malaysia, performed in Kuala Lumpa that was very successful in raising money for the World Wide Fund For Nature.

Galapados Duck03AThere have been many appearances on Television including the Bi-Centennial TV spectacular and appearances on ‘Hey Hey Its Saturday’. The Band has also been involved in Film – writing and performing the soundtrack for ‘The Removalist’ and appearing in the Australian Films ‘Rebel’ and ‘Emerald City’. (taken from their website)

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And here´s their 4th studio album and it´s again a great Jazz-Funk mixture including some traditional Jzz numbers and … a really sweet cover of Mercy, Mercy, Mercy with some nice electric piano work.

And their version of Mozart´s  “Ronda A La Turk” ist very interesting.

So enjoy this very unique style of one of the most important Jazz groups from Australia !

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Personnel:
Ray Aldridge (keyboards)
Len Barnard (drums)
Greg Foster (trombone, harmonica)
Tom Hare (saxophone)
Chris Qua (bass, violin, trumpet)

Chris Qua & Tom Hare

Tracklist:
01. Sesame Street (Raposo/Stone/Hart) 3.52
02. Medley: 5,34
02.1. Superstar (Russell)
02.2. I’m A Woman (unknown)
02.3. Feel Like Making Love (McDaniel)
03. Child Is Born (Jones) 5.14
04. Ronda A La Turk (Mozart) 4.23
05. Isn’t She Lovely (Wonder) 6.11
06. Nadia’s Theme (de Vorzon/Botkin jr.) 3.14
07. Mercy, Mercy, Mercy (Zawinul) 4.51
08. Chop Sticks (Traditional) 3.49
09. Chaser No Straight (Aldridge/Barnard/Foster/Hare/Qua) 0.37

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Their official website:
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Moby Grape – Same (1967)

LPFrontCover (Original)1Moby Grape is an American rock group founded in 1966, known for having all five members contribute to singing and songwriting,[5] which collectively merged elements of folk music, blues, country, and jazz with rock and psychedelic music. They were one of the few groups of which all members were lead vocalists. The group’s first incarnation ended in 1969, but they have reformed many times afterwards and continue to perform occasionally.

Moby Grape’s success was significantly impeded by decades-long legal disputes with their former manager, Matthew Katz. Legal difficulties originated shortly after the group’s formation, when Katz insisted that an additional provision be added to his management contract, giving him ownership of the group name. At the time, various group members were indebted to Katz, who had been paying for apartments and various living costs prior to the release of the group’s first album. Despite objecting, group members signed, based in part on the impression that there would be no further financial support from Katz unless they did so. Neil Young, then of Buffalo Springfield, was in the room at the time, and kept his head down, playing his guitar, and saying nothing. According to Peter Lewis, “I think Neil knew, even then, that this was the end. We had bought into this process that we should have known better than to buy into.”

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The dispute with Katz became more acute after the group members’ rights to their songs, as well as their own name, were signed away in 1973, in a settlement made without their knowledge between Katz and the band’s manager at the time (and former producer), David Rubinson. It was also a settlement made at a time when Bob Mosley and Skip Spence[7] were generally recognized as being legally incapacitated due to the effects of schizophrenia.

As described by Jeff Tamarkin, “The Grape’s saga is one of squandered potential, absurdly misguided decisions, bad luck, blunders and excruciating heartbreak, all set to the tune of some of the greatest rock and roll ever to emerge from San Francisco. Moby Grape could have had it all, but they ended up with nothing, and less.” (wikipedia)

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Moby Grape is the 1967 debut album by rock band Moby Grape. Coming from the San Francisco scene, their reputation quickly grew to immense proportions, leading to a bidding war and a contract with Columbia Records. The album peaked at #24 on the Billboard 200 albums chart in September 1967.

Production began on Moby Grape in Los Angeles in March 1967.[5] Produced by David Rubinson, it took just six weeks, and $11,000,[6] from March 11 to April 25, to record all thirteen tracks. Another song “Rounder” was also recorded, but no lyrics or vocals were completed for it at the time.

The cover photograph is by noted rock photographer Jim Marshall. On the original release, Don Stevenson is shown “flipping the bird” (making an obscene gesture) on the washboard. It was airbrushed out on subsequent pressings, but the UK reissue on Edsel/Demon restored it.

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The flag behind Skip Spence is actually a United States flag that Columbia Records decided to obscure through airbrushing, presumably due to the political climate of the times. On the original release, the flag is colored red. When the cover was revised to remove the offending finger mentioned above, the flag was changed from red to black, again presumably due to possible political interpretations (the association of the color red with communism). The Edsel vinyl (1984) and CD (1989) re-issues restored the photo to its original state, with Don Stevenson’s displayed finger and an un-airbrushed United States flag. Other CD re-issues use the cover from the first pressing, with the finger intact and the flag tinted red. (wikipedia)

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Moby Grape’s career was a long, sad series of minor disasters, in which nearly anything that could have gone wrong did (poor handling by their record company, a variety of legal problems, a truly regrettable deal with their manager, creative and personal differences among the bandmembers, and the tragic breakdown of guitarist and songwriter Skip Spence), but their self-titled debut album was their one moment of unqualified triumph. Moby Grape is one of the finest (perhaps the finest) album to come out of the San Francisco psychedelic scene, brimming with great songs and fresh ideas while blessedly avoiding the pitfalls that pockmarked the work of their contemporaries — no long, unfocused jams, no self-indulgent philosophy, and no attempts to sonically re-create the sound of an acid trip. Instead, Moby Grape built their sound around the brilliantly interwoven guitar work of Jerry Miller, Peter Lewis, and Skip Spence, and the clear, bright harmonies of all five members (drummer Don Stevenson and bassist Bob Mosely sang just as well as they held down the backbeat). As songwriters, Moby Grape blended straight-ahead rock & roll, smart pop, blues, country, and folk accents into a flavorful brew that was all their own, with a clever melodic sense that reflected the lysergic energy surrounding them without drowning in it.

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And producer David Rubinson got it all on tape in a manner that captured the band’s infectious energy and soaring melodies with uncluttered clarity, while subtly exploring the possibilities of the stereo mixing process. “Omaha,” “Fall on You,” “Hey Grandma,” and “8:05” sound like obvious hits (and might have been if Columbia hadn’t released them as singles all at once), but the truth is there isn’t a dud track to be found here, and time has been extremely kind to this record. Moby Grape is as refreshing today as it was upon first release, and if fate prevented the group from making a follow-up that was as consistently strong, for one brief shining moment Moby Grape proved to the world they were one of America’s great bands. While history remembers the Grateful Dead and Jefferson Airplane as being more important, the truth is neither group ever made an album quite this good. (by Mark Deming)

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Personnel:
Peter Lewis (vocals, guitar)
Jerry Miller (guitar, vocals)
Bob Mosley (bass, vocals)
Skip Spence (vocals, guitar)
Don Stevenson (drums, vocals)

The censored frontcovers:
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Tracklist:
01. Hey Grandma (Miller/Stevenson) 2.33
02. Mr. Blues (Mosley) 2.01
03. Fall On You (Lewis) 1.56
04. 8:05 (Miller/Stevenson) 2.22
05. Come In The Morning (Mosley) 2.17
06. Omaha (Spence) 2.25
07. Naked, If I Want To (Miller) 0.58
08. Someday (Miller/Stevenson/Spence) 2.43
09. Ain’t No Use (Miller/Stevenson) 1.40
10. Sitting By The Window (Lewis) 2.48
11. Changes (Miller/Stevenson) 3.25
12. Lazy Me (Mosley) 1.48
13. Indifference (Spence) 4.14

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