Blind guitar legend dies

Canadian guitarist Jeff Healey died on March 2nd at the age of 41 after a life long battle with cancer. Blind since the age of 1 from a rare form of retinal cancer known as Retinoblastoma, Jeff taught himself to play with an unusual style of laying the guitar across his lap.

Known as a musical prodigy since his teens, he shared the stage with Stevie Ray Vaughn, George Harrison and B.B. King to mention a few. You can also see Jeff's playing on YouTube and in the 1989 movie "Roadhouse" starring Patrick Swayze.

His unorthodox technique gave him the advantage of pulling the strings toward him when bending and his fierce string bending and vibrato technique was a trademark of his hard hitting blues/rock sound. In recent years, his music had turned toward jazz (his first love) and that style dominated his past three albums. His first rock album in eight years "Mess of Blues" will be released in the USA on April 22nd.

Source : Guitar

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Legendary guitarist Jimmy Wyble graces Spokane jazz scene with concert and clinic at Ella’s

Legendary guitarist for Red Norvo, Bob Wills, Benny Goodman, and many other world-class acts, Jimmy Wyble visited Spokane for a concert and clinic at Ella’s Supper Club the last weekend in March, courtesy of the Jazz Guitar Society of Spokane.

Soft spoken, humble, and gentle, Jimmy Wyble, 86, is a rare soul who is so full of kindness and love, he immediately befriends everyone he meets. His self-deprecating humor and his quiet ways are awe-inspiring. Everyone was deeply touched by his presence at downtown Spokane’s favorite jazz gathering place.

Jimmy Wyble, playing at the Jazz Guitar Society of Spokane’s guitar clinic at Ella’s.

The beginning of Wyble’s fame comes from his early years with Bob Wills and the Texas Playboys, the most famous band in western swing, but he was already melding jazz into country as early as 1942 when he was playing with Cameron Hill, the second man in the “twin guitars” of Wills’ group.

Wills hired Wyble away from KTRH Houston radio bandleader Foreman Phillips, who coined the term “western swing.” Hill and Wyble played twin 1943 Epiphone Emperor guitars with DeArmond pickups bought for $1,100 in Hollywood with money from Wills. Bob Wills wanted the men to play the prettiest guitars so they’d look their best on tour. Wills also bought all the cowboy uniforms that were the group’s signature style.

Wills’ band caused a sensation in 1944 with an appearance on The Grand Ole Opry in Nashville, Tenn., that is still talked about. Wills had two vocalists and 17 instrumentalists, one of whom was drummer Monte Mountjoy. This was at a time when drums were forbidden on the Opry stage.

“They made Monte sit behind a thin curtain so he could still see Bob’s direction, but he was obscured from the audience. It certainly made a stir at the Opry,” Wyble said. “I don’t think they were ever the same again.”

Unfortunately, there are no known recordings of that performance, and no photos have turned up either, which just goes to show how important it is to let the media document performances. They are frequently taken for granted when present but sorely missed when absent.

By 1947, Wyble was with the Spade Cooley Band and his years as a Texas Playboy were behind him. One of the only recordings with Cooley is an aircheck from 1951. He also played in the Western All Stars through 1949.

Wyble became a front man himself with the release of “The Jimmy Wyble Quintet” in 1953. His unique combination of accordion, clarinet, guitar, bass, and drums presaged the revival of klezmer that was all the rage in downtown New York City clubs in the 1990s.

The year 1953 was truly a milestone in Wyble’s career. In addition to his eponymous release, he also recorded with guitarist Barney Kessel’s jazz quartet, and began touring with Red Norvo and Benny Goodman. With Norvo, Wyble also backed Frank Sinatra in ol’ blue eyes’ Australian tour.

Twenty some years went by while he was busy tearing up tracks in L.A. studios for all the A-list music sensations of the era. He cut vinyl again in 1977 under the name “Jimmy Wyble and the Love Brothers.” He also played in Tony Rizzi’s Five Guitars group during this same time frame. Selection of those tracks were played in Spokane at Ella’s, and Wyble made copies available to the society – one of the many benefits of membership in Spokane’s only organization dedicated to the jazz guitar.

Jimmy Wyble has also appeared on TV shows such as Flip Wilson, and has played the music behind movies including “The Wild Bunch” and the original “Ocean’s Eleven”.

He is also the author of “The Art of Two Line Improvisation,” a bible amongst guitarists for its groundbreaking technique of playing solos with two fingers playing independently, an astounding feat that requires tremendous practice, but sets apart any master of the technique from other players.

Wyble taught guitar to Steve Lukather at 16 when “Luke” was still in high school. Luke has credited him with teaching him positions, notes, scales, and relationships. Luke went on to co-found the band “Toto” and become an international legend in his own right with songs like 1983’s #1 Billboard hit “Africa”.

Another 16 year old Wyble taught was Howard Alden, on the recommendation of Barney Kessel in 1974. Alden credited Wyble with teaching him the mastery of the fingerboard and how to weave chords together to create a unique style. Wyble stressed finger independence and learning to hear lines to his famous protege.

In a sense, Wyble was teaching his successor, since just as Wyble followed Tal Farlow as Norvo’s guitarist, so did Alden follow Wyble. Wyble shared a funny story about his time with Norvo in Las Vegas venues.

“The sound level from all the people in these clubs was always very loud from people drinking and carrying on, and sometimes it would drown out the band,” Wyble said. “Red would tell us to stop playing our instruments, but look like we were playing. In other words, just do your business on your instrument as if you were playing but don’t actually make any sound, and then wait for his cue.

“We’d do this for sometimes several minutes, and then all of a sudden people would settle down a bit and look over at us, and here we were pretending to play. Red would give the signal and we’d start in playing again for real as if nothing had happened. Then people would go back to their conversations. It was just a sort of game we played with the audience.

“Sometimes Red would get angry with the audience and play metal on metal to get their attention. The shrill noise of it quieted the house down really quick, and once again, we’d go back to playing normally.”

Today, he is still playing, and many videos of him are available on YouTube. His etudes are an atmospheric wonder, a kind of ear candy that must be heard to be appreciated. Fortunately, the video sharing site has several to choose from, showing off the same Hofner Verythin JS he played in Spokane.

Another excellent resource to learn more about Wyble is a biographical interview on his website.

“Thanks to Tim Nodland and the Jazz Guitar Society of Spokane for being such great hosts,” Wyble recently said about his visit. “I had a great time in Spokane.”

Podcast:

I recorded Jimmy Wyble’s concert at Ella’s and with his express permission, I now present the tracks from that session. These etudes are not songs, but rather, are impromptu studies in Jimmy’s unique style of playing chords with two-line independent finger techniques.

In addition to these fifteen, Jimmy also played “Prelude To A Kiss”, “The Peacocks”, and “Soft Winds”, which are in rotation at The Inland Echo’s jazz radio station. [Editor's note: the jazz station has been discontinued. Apologies for the inconvenience.]

All of his music was recorded as WAV files in 16-bit 44.1kHz linear PCM quality, engineered, and then bumped down to MP3 player quality for this podcast. Jimmy has made these tracks free to download, but please don’t pass them around. Refer people who would like a copy back to this page, so we can keep track of how many copies are in circulation. Also, if you are a musician who would like to be recorded, please contact me. Thanks, and enjoy the show:

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{play}http://www.inlandecho.com/audio/Jimmy_Wyble_-_Live_at_Ellas_-_11_-_Etude_11.mp3{/play} Jimmy_Wyble_-_Live_at_Ellas_-_11_-_Etude_11.mp3

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{play}http://www.inlandecho.com/audio/Jimmy_Wyble_-_Live_at_Ellas_-_13_-_Etude_13.mp3{/play} Jimmy_Wyble_-_Live_at_Ellas_-_13_-_Etude_13.mp3

{play}http://www.inlandecho.com/audio/Jimmy_Wyble_-_Live_at_Ellas_-_14_-_Etude_14.mp3{/play} Jimmy_Wyble_-_Live_at_Ellas_-_14_-_Etude_14.mp3

{play}http://www.inlandecho.com/audio/Jimmy_Wyble_-_Live_at_Ellas_-_15_-_Etude_15.mp3{/play} Jimmy_Wyble_-_Live_at_Ellas_-_15_-_Etude_15.mp3

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Jimi Hendrix : The Intimate Story of a Betrayed Musical Legend

To Hendrix, it was all about tones. Tones that come from deep inner truths that surface as creatively shaped moments to be shared with the world. His tones were formidable and his artistic presence and influence remain with us over thirty-five years later.

Sharon Lawrence understands tones.

Her book, Jimi Hendrix: The Intimate Story of a Betrayed Musical Legend is a memoir that could have easily been her cash cow after his death. But while others cashed in on their Jimi Hendrix experiences, Sharon remained quiet, protective and reflective. Her new paperback reflects the quiet mourning of a friend coupled with the need to introduce the world to Jimi Hendrix the artist and the man.

It is not only an intimate journey, but one that runs full throttle with the rock ‘n’ roll circus of the ‘60s and ‘70s. It’s a story of a young man who wrestled with his own demons and the greed and avarice that surrounded him as fame took its heavy toll.

It has been more than 35 years since the guitarist died in a flat in London. A day wrapped in mystery to some, but one that Lawrence suggests may have been more a fatal gamble, if not purposeful. Today, the name Jimi Hendrix consistently tops “Best Guitarist” lists that credit his monumental influence on guitar playing.

Sharon takes us along the road Jimi traveled from boyhood, riding the chitlin’ circuit, his shows in England, his rise to fame in America, and to the guitarist’s final hours in London. His family life was full of strife and conflict, but also included pockets of enough love to nurture the young boy. This tribute to Hendrix is filled with personal conversations between Jimi and the author in a voice that carries you “there” with them, like when he tells her, “I want to play my guitar forever,” then adds “forever.”

It should be made clear that Sharon was not one of Jimi’s many girlfriends, but a friend and confidante in the truest sense of the term. When they met, she was an ambitious and career focused young UPI entertainment journalist. She had a serious job and the many musicians she hung out with recognized and respected her because she had a real grownup job.

She moved in the same circles of friends as the rock stars of the day, that had her once accepting an invitation from Mick Jagger to join the Rolling Stones on tour as their press liaison. As a journalist, Lawrence needed to keep records and bits and pieces of information about the music world she covered and those in it. They’re part of the stock and trade. Her book is based on notes, recordings, and conversations she had with Jimi, as well as with over 250 others who shared their Jimi Hendrix stories with her.

Sharon’s telling of Jimi’s big break in London and his experiences with the Rolling Stones, the Beatles, Eric Clapton, Jeff Beck, The Who captures the moments in all their glory. Beck and Clapton with their mouths wide open watching Hendrix as he unleashes staggering colorful sounds from his Stratocaster while playing “Killing Floor,” “Hey Joe” and “Wild Thing.” She recalls Jimi’s manager, ex-Animal Chas Chandler saying, “Eric actually turned pale, he was so overwhelmed by Jimi’s talent. He could hardly talk.”

Sharon’s voice throughout the book is not always as tender as when she speaks of her friend. Her protective spirit cuts clean to the bone when she dissects the unscrupulous machinations of some of Jimi’s managers, family and associates and the twisted contract provisions that bled him. For all the millions of dollars Jimi must have earned while alive, she tells us that Jimi died with a paltry $20,000 to his name.

The author’s attention to the details gives her voice authority and fans who read her account of Jimi’s life will seethe in frustration that they couldn’t have been there to help protect him from his business and personal entanglements. And as Lawrence presents later, business intrigue and entanglements that in her opinion continue to exploit as much as build the Hendrix legacy today.

Sharon Lawrence offers us an insightful, poignant, sad and oftentimes exciting account of the life of the legendary rock star. It is a life full of roadblocks, betrayal and abundant promise. She says that Jimi wanted to be remembered honestly and for people to know the real Jimi Hendrix.

Lawrence can rest assured that she has honored Jimi’s interests and talents with her book. Her level of research is formidable and her ability to convey all in an interesting and riveting manner is a tribute to her reporting skills, as much as it is to her levels of compassion and passion.

Jimi Hendrix: The Intimate Story of a Betrayed Musical Legend is the most definitive book around on Hendrix, as it’s the most up close and personal account of his life written to date. It’s the “go to” Jimi Hendrix life story and a must read for researchers, fans, musicians, and anyone else who wants to meet Jimi Hendrix the man and the musical legend. Read it.

Sharon Lawrence has done us all a favor by offering the world a book that moves us in many ways, one that should have Jimi smiling, and in the end leads us all back to our Hendrix albums or CDs reminding us to move over and “Let Jimi take over.”

Reference : Guitar International

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The Memorial Spot of Jimi Hendrix Grave to Remember the Blues Rock Guitarist

When an idol is death, his spirit live forever toward his work, such as songs and music. No matter the controversial case and cause of his death, many fans will always commemorate the date annually. The commemoration may take the action as putting bouquet of flowers on his graveyard or memorial site. It may take another form such as music events where the fans play the idols’ famous music and songs.

Jimi Hendrix is one of the world greatest guitarists and idol who inspired millions of his fans. Even though it has been decades from his controversial death in 1970, his songs keeps becoming inspiration for the youth in 21st centuries. Jimi Hendrix grave becomes one of the most visited sites for his fans every time they have the chance to go to the US. There is gravesite of the guitarist in Greenwood Memorial Park, Renton, Washington. Jimi Hendrix grave has a headstone with a depiction of his most played instrument, Fender Stratocaster guitar.

The memorial gravesite is a granite dome underpins by three pillars. The gutarist’s autograph is inscribed at the base of each of the pillars. The Jimi Hendrix grave is one of the memorial spot to remember the musician. There is also Jimi Hendrix memorial statue depicting him playing his Stratocaster guitar in Seattle.

Sumber : bestguitarist

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Kronologis Sejarah Diskografi Alm. Chrisye

Musisi Kaya Diskografi

Dalam kurun waktu 40 tahun Chrisye menghasilkan lebih dari 50 kaset dan CD berisi vokalnya bersama penyanyi lain atau semua lagu yang dinyanyikannya sendiri. Misalnya Lilin Lilin Kecil (1977) bersama Denok Wahyudi, Keenan Nasution, Ferdy Ferdian, dan Noor Bersaudara yang diproduksi Radio Prambors, Guruh Gipsy (1977) bersama Keenan produksi Pramaqua, Badai Pasti Berlalu (1977) bersama Berlian Hutauruk produksi Irama Mas, dan Jurang Pemisah (1977) produksi Pramaqua.
Kaset Sabda Alam merupakan debut kerja sama yang langgeng antara Chrisye dan Musica Studio tahun 1978. Kerja sama ini memperlihatkan peran sebuah perusahaan rekaman yang sangat menentukan langkah seorang penyanyi seperti Chrisye. Ayah empat anak ini tetap menjadi penyanyi Musica Studio sampai akhir hayat.
Lengketnya Chrisye dan Yockie Soeryoprayogo sejak Lilin Lilin Kecil sampai Sabda Alam terus berlanjut lewat Percik Pesona (1979), Puspa Indah Taman Hati (1980), Pantulan Cinta (1981), Kemesraan (Iwan Fals dan Rafika Duri), Asalkan Pilih Jalan Damai (Harvey Malaiholo, Krisdayanti, dan lain-lain), Chrisye Bersama Guruh Sukarnoputra, Untukmu Indonesiaku! II: to My Friend on Legian Beach, Musik Saya adalah Saya, Duka Sang Bahaduri, Akhir Sebuah Opera, Seindah Rembulan (1981), hingga Resesi (1983) di mana E&C&Y (Eros Djarot, Chrisye, dan Yockie) yang judul lagu instrumental album Badai Pasti Berlalu (BPB) kembali bergabung.
Pengalaman Chrisye di Sabda Nada, yang kemudian menjadi Gipsy serta The Pros’ tidak menyulitkan dia bekerja sama dengan pemusik lain seperti Adjie Soetama dan menghasilkan sejumlah album yang lebih laris dari Reses yakni Metropolitan (1983), Nona (1984), Sendiri (1984), Titian Karir (1984), Aku Cinta Dia (1985), Hip Hip Hura (1985), Nona Lisa (1986), Kisah Cintaku (1987), Lagu Terpopuler 1987 (1987), Kisah Cintaku (1987), Hening (1988), Pop Kreatif 87-88 (1988), Hening (1989), Album Slow Cinta Chrisye (1989), dan Pergilah Kasih (1989).
Aku Cinta Dia, Hip Hip Hura, Kisah Cintaku, dan Pergilah Kasih memperoleh penghargaan dari pabrik pita kaset kosong HDX dan BASF Award sebagai kaset paling banyak terjual yang direkam di atas dua merek pita kaset itu tahun 1985, 1987, dan 1989. Pada kurun waktu itu pula Chrisye dikaruniai empat anak, yakni Annisa (1983), Risty (1986), dan si kembar Masha serta Pasha (1989).

 Sementara itu Chrisye tetap dekat dengan komunitasnya sebelum sukses sebagai penyanyi rekaman. Menyanyi bersama Gipsy dan The Pros’ selama 1972-1975 di New York City memberikan pengalaman yang tidak terlupakan. Sebagaimana dikatakannya ketika tampil bersama The Pros’ dalam acara malam tahun baru 1991 di RCTI, sebagai anggota paling bontot dalam grup itu dia banyak belajar dari Dimas Wahab, Abadi Soesman, Pomo, dan Broery Pesoelima.
Dalam acara itu, sebagaimana di Restoran Ramayana, New York City, setelah berduet dengan Broery dalam lagu The Way We Were, Chrisye menyanyikan sendiri Listen to the Music (Dobbie Brothers) dan Bridge over Trouble Water (Paul Simon and Art Garfunkel), dua lagu yang paling sering dia nyanyikan di atas panggung selain lagu-lagu Three Dog Night serta John Mayall. Abadi Soesman mengakui pada masa itu kualitas vokal Chrisye berada pada puncaknya. Mereka satu kamar selama lebih dari satu tahun di New York City.
Chrisye membuktikan kepiawaiannya hingga tahun 1990-an ketika lagu Tony Koeswoyo, Cintamu T'lah Berlalu (1992), dinyanyikannya kembali dengan aransemen Yongky M Suwarno. Kasetnya kembali memperoleh HDX dan BASF Award. Deretan diskografinya berlanjut, yaitu Best of Chrisye (1993), Sendiri Lagi (1993), Kesan di Matamu (1994), Acoustichrisye (1996), dan Kala Cinta Menggoda (1997).
Penghargaan MTV Asia diberikan kepada video klip Kala Cinta Menggoda karya Dimas Djajadiningrat di Universal Amphitheatre, Los Angeles, 10 September 1998. Pesta tahun itu belum usai karena tanggal 21 Oktober Chrisye memborong sembilan penghargaan dari Anugerah Musik Indonesia (AMI).

 Bukan pilihan utama

 Bersama Donny Fattah, Temmy Lesanpura, Jockey, Keenan, Rahadi, Guruh, Doddy, dan Papo Parera, saya menjadi juri Lomba Cipta Lagu Remaja 1977. Lilin Lilin Kecil ciptaan James F Sundah yang menjadi salah satu dari sepuluh lagu yang dikasetkan semula direkam dengan vokal Ferdy Ferdian. Namun, setelah diisi vokal Chrisye, pemimpin Prambors Imran Amir menganggap lebih pas dan jadilah Lilin Lilin Kecil yang kita kenal itu.
Chrisye juga bukan pilihan utama ketika proses rekaman BPB. Broery-lah yang waktu itu diharapkan mendampingi Berlian. Namun, Chrisye kemudian justru menyatu dengan Eros dan Yockie. Secara jujur Chrisye mengakui BPB adalah pengalaman manis yang tidak mungkin dia lupakan.
Dengan alasan desakan "orang sekitar saya" dalam kata pengantar BPB versi 1999, Chrisye merekam kembali 11 lagu BPB dengan penata musik Erwin Gutawa serta penyanyi Aning Katamsi, Nicky Astria, dan Waljinah. Tetapi, sebuah magnum opus tidak bisa diulang. Walaupun demikian, bersama Erwin Gutawa, sama halnya dengan Yockie, Chrisye kembali menuai sukses.
Setelah BPB versi 1999, Chrisye lebih sering menghasilkan album bersama penyanyi-penyanyi lain. Dalam periode ini langkah Chrisye tetap menarik sekaligus memperlihatkan begitu dominannya peranan Musica Studio yang selama dua generasi melayaninya, mulai dari Amin Widjaja hingga kemudian diteruskan putra-putrinya, Senjaya Widjaja dan Indrawati Widjaja.
Senyawa (2004) membuktikan Chrisye bisa bekerja sama dengan siapa saja, termasuk dengan pemusik generasi muda seperti Ungu dan Peterpan. Ini dipertegas lewat album Dari Hati untuk Aceh (2005), Bebi Romeo: The Singer-Songwriter (2005), From Us to U (2005), Tribute to Titiek Puspa (2005), Chrisye by Request (2005), Duet by Reques (2006), dan MTV Ampuh 20.
Proses rekaman Guruh-Gipsy mempertemukan Chrisye dengan Damayanti Noor yang kemudian menjadi istrinya tahun 1982. Jadi, diskografi Chrisye memang bukan hanya daftar lagu atau album, melainkan sebuah rekaman semangat hidup yang tak kunjung padam. Tidak heran jika industri musik menebarkan karpet merah baginya sebagaimana yang saya tulis di edisi ulang-tahun pertama majalah musik Rolling Stones edisi Mei 2006.

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The Australian Band -1966 to 1969

TIN PAN ALLEY

In mid 1968, Laurie Hellyer, who had been in the original Vicars lineup, moved back to Wollongong and joined The Cast (see photo below), replacing their original bassist, Harry Mitchell.

This band was made up of the two Cooper brothers, Wayne & Phil on lead vocals, Stuart Bedford (guitar, vocals), Laurie (bass), Peter Sheehan (organ) and Kevin Sheehan (drums).  The Cast concentrated on harmony covers, - Bee Gees, 5th Dimension, Beach Boys, Hollies, etc. Following the break up of the Vicar's in early 1969, most of their members returned to Wollongong. Some of the former Vicar's (including Dave) wanted a change of material, so basically the two bands combined members (losing Kevin & Peter in the process) and became a new band (Peter Sheehan went on to join NZ expat band, Freshwater, and penned their controversial, Sharon Tate murder inspired single, Satan).  With three vocalists fronting the band it is to be presumed that they each took a turn doing the lead vocals, somewhat in the manner of US band Three Dog Night, who were popular then. Much of The Cast repertoire was retained plus some of the covers the Vicar's had been doing and the new band became a showband and called itself .....Tin Pan Alley.

After rehearsing in Wollongong they set off north where they took up a residency at a large popular hotel, the Cabbage Patch at Coolangatta on Queensland's Gold Coast.  They played songs such as "Aquarius" and "Hair", the 5th Dimension's, "Up Up and Away" and The Beach Boys "I Can Hear Music". The line-up then was Dave Rossall (vocals), Wayne Cooper (vocals), Phil Cooper (vocals) Stuart Bedford (lead guitar/vocals), Laurie Hellyer (bass), Neil Williamson (keyboards) and Dieter Glaser (drums). They also inherited Dave's ever present father George as manager who, sometime in this period, opened and managed a disco in Gladstone, Queensland.

This seven piece lineup cut a single " Just for Tonight". This, and its flipside "Every Now and Then", were recorded at EMI studios in Castlereagh St Sydney and produced by Mike Perjanik. "Just For Tonight", with lead vocal in the verses by Dave and four part harmonies on the chorus, was a big ballad with lush strings, quite a contrast to their Rockin' Vicars tracks.  "Every Now and Then" was all sung in four part harmony in the style of The Tremeloes or The Bachelors.  Just For Tonight was written by that great UK songwriting team, Tony Macaulay and Barry Mason, who gave the world gems such as Edison Lighthouse's, Love Grows Where My Rosemary Goes, Melanie Makes Me Smile  andShe Works in a Womans Way (the latter a local hit for Dave Allenby & Autumn).  Unfortunately that success never translated for their version of Just For Tonight, which went nowhere when released later in the year, just as the original version by David Essex did in 1968. Maybe some other night !!

Mid year saw them compete in the 1969 Hoadley’s Battle of the Sounds... going through three heats at Wollongong, Canberra & then the Capitol Theatre, Sydney and then going on to represent Country NSW as one of the twelve finalists in the National finals held in Melbourne. This was the third year in a row that a Wollongong band went through to the chosen eight bands in the Grand finals.

This was the year too, they competed in Martin Erdmans "Sounds of '69" band recording contest, and were one of the winning 26 bands in this contest, who played live before an 8000 strong crowd in July 1969 at the Sydney Showground where they wowed the crowd with a great version of the song "Hair".

In November 1969 came a major lineup change. Just as the single was about to be released, both the Cooper Brothers left to go back to Wollongong from Queensland, where the band had spent much of it's time. The band had a number of gigs in Wollongong coming up including two really big ones, one supporting Russell Morris at The Wollongong Showground on 28 December 1969, the other supporting The Executives and Ronnie Burns at Capitol Hall on 25 Jan 1970 (formerly Wonderland). To this end they quickly acquired a new, rather attractive, member to replace the Coopers, a very young female vocalist, Angela Jones.

The new six piece line-up then was Dave Rossall (vocals), Angela Jones (vocals), Stuart Bedford (lead guitar), Laurie Hellyer (bass), Neil Williamson (keyboards) and Dieter Glaser(drums).

This line-up lasted until May 1970 after a residency in Adelaide, when they returned to Wollongong. Firstly Stuart left to be replaced by Ian Davidson, and then Dieter, who was replaced by Terry Gascoigne. It seems that Stuart did not agree with the musical direction the band was taking or the suggestion by their manager George that they dance on stage like a vaudeville show! The new members were a brief attempt at a resurrection but it was short lived. Angela Jones (sister of jazz musician Vince Jones) ended up with the Bootleg Family Band. Some later members of the short lived version, which included Paul Wyld (organ) (ex-The 69'ers), went on to form a band called Kerri Koon. Terry Gascoigne & Paul Wyld later joined Blackfeather's everchanging line-up and Paul will always be heard for his famous piano solo on that bands classic hit, "Boppin' The Blues".

As a footnote however, a revived line-up under the name Tin Pan Alley, made up of Phil & Wayne Cooper (vocals), Nick Kouts (vocals/guitar), Nerida McKean (keyboards), John McKean (bass) and Dieter Glaser (drums) played an 18 month residency at a Wollongong licensed club, Berkeley Sports & Social Club, around 1971. They may have been bashing out standards and covering latest hits, and it may have been smoke filled and crowded, but they probably made more money out of it than on the road!  During this time it seems Dave Rossall had returned to live in the UK briefly, on the Isle of Man although not remaining long before he returned to Australia.
Dieter Glaser continued to play drums, joining up with The Marksmen's, Bobby Kerr, in the 1980's.

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READ MORE - The Australian Band -1966 to 1969