The Angels are Australia's most iconic rock band. Over a successful career spanning four decades the evolution of the group has seen various members add to the ever increasing depth of their songwriting, recording and performance skills.
Underpinned by the iconic Brewster-Driven-Riffs their music has found its way into the hearts and minds of music lovers right across the country. In turn, empowered by epic frontmen Doc Neeson, and now Dave Gleeson, a whole raft of the band's songs have become firmly embedded into the very fabric of Australia's recent cultural history.
The 40th Anniversary of The Angels in 2014 is a pivotal point in the band's history. To mark this momentous occasion Liberation Music and Alberts Music have joined forces to bring forth a pair of album sets which represent the nation's unique love affair with high quality pub rock.
Volume 1 Greatest 'Studio' Hits & Volume 2 Greatest 'Live' Hits from The Angels are packed with recordings drawn out of the band's vast catalogue. They stand as a testament to the path carved across every corner of the country by Australia's most enduring rock band from 1974 right through to 2014.
Since 1974 The Angels have wowed audiences at pubs, clubs, festivals and concerts with their high energy brand of Australian rock riffs.
The band's sound has become legendary across the country. Their unique approach to pumping up an audience is synonomous with rocking out while holding a drink in your hand after a hard days work.
There are few, if any, groups in the world who can hold up an ongoing reputation for live performances like the status acheived by The Angels over the course of their constant and relentless evolution.
The Greatest 'Live' Hits album contains a special selection of 40 recordings from gigs across their career and who knows... maybe you were there!
1 - After The Rain - Narara, 1983
We often use After The Rain as an opener. Narara 83 was a real game changer for us, and remains a career highlight to this day.
2 - Waiting For The World - La Trobe Uni, 1979
We played La Trobe University for a Night Moves concert. The song was written about a guy who we thought was a bit of a wanker who used to criticise the band and was a songwriter himself! Great lyrics. It was the original line-up (Brewster / Neeson / Brewster / Bidstrup and Bailey) at our best.
3 - After Dark (Skid Row) - La Trobe Uni, 1979
One of our greatest songs. It's one of Rick's lyrics - it was part of a terrific set we played. We built our own stage and light show and brought it in to the venue.
4 - No Secrets - Bombay Rock,1983
This was recorded at Bombay Rock in Brunswick. We used to play upstairs. There was a VIP section at the back and Doc climbed over people to get into it and raised hell!
5 - Who Rings The Bell? - St Leonard's Park, 1977
It was a career changing Double J show back in the AM radio days. An amazing multi-bill concert and it played a major part in breaking The Angels. Thousands of people went and it caused commercial radio to take notice and start playing our records.
6 - Going Home - St Leonard's Park, 1977
This is a rarity. John plays harmonica on it - it's raw and exciting. Fucking great song actually - we don't know why we didn't release it.
7 - Be With You - La Trobe Uni, 1979
Doc and John wrote this in the piano room at Alberts Studios where Bon Scott had just sung the vocal for Let There Be Rock. People used to go and get a drink when we played it - we were frenetic in the early days - now you see great big tattooed bikies waving their arms to it. It's become a huge song.
8 - Straightjacket / I Ain't The One / Save Me - Thirsty Bar, USA, 1980
Someone got this bootleg to us and we, normally, never did medleys. It was Chris Bailey's idea, and a fantastic one. You can take the boy out of the cocktail lounge but you can't take the cocktail lounge out of the boy. That's where Chris was playing before he joined the band (among other things).
9 - Out Of The Blue - La Trobe Uni, 1979
Rick plays Hammond organ on this and Dawn Is Breaking. We started to get into Rick playing a bit of keyboard. It was a big radio song - they still play it.
10 - Dawn Is Breaking - La Trobe Uni, 1979
This was recorded for No Exit - it's essentially prose that Rick wrote and we put to music. It's one of the few times we did the song on stage - we didn't want to carry the Hammond organ around with us!
11 - No Exit - La Trobe Uni, 1979
We opened the show with this. John and Rick and Ray Hawkins our lighting guy spent the whole night building the lights, which looked like prison bars. Doc would leap across the stage and try to force himself through the bars. It was incredible to watch.
12 - Poor Baby - Melbourne Showgrounds, 1980
This concert was another Night Moves special. The two-track master is missing. It's a rough take but we love it. This concert was just before our first US tour.
13 - Am I Ever Gonna See Your Face Again? - La Trobe Uni, 1979
Interesting because you can't hear the "no way - get fucked - fuck off" chant - it was before that came about. We stopped playing it for a while and then we played in Mt Isa in 1983 and three thousand people chanted "no way - get fucked - fuck off" and we played the song every night after that. We have no idea how or where the chant started.
14 - Wasted Sleepless Nights / Dark Room - Melbourne Showgrounds, 1980
Another song with Rick on organ. It was the song that inspired Dark Room as an album title. 'Staring voices from the dark room' - a corny line but it was a bit dark and we loved the imagery.
15 - Ivory Stairs - La Trobe Uni, 1979
We closed our set with Ivory Stairs. We extended the ending, it was exciting and ballsy…Doc kept trying to leap off the stage. John would stand in front of him and try and block him, it was a bit of fun…very dramatic. Finally John would let him go and it was 'see you later…end of show'.
16 - I'm Scared - Melbourne Showgrounds, 1980
That song was only in the set for a short period of time. Then it disappeared out of the repertoire. The Dark Room album was full of paranoia. It played into the theatrical side of Doc which was very prevalent in those days. It made him one of the great front men of all time.
17 - Bad Dream - Sylvania Hotel, 1980
We used to have a couple of thousand people crammed into pubs that were probably only licensed for around 500. The significance of Bad Dream is it's the only song Chris Bailey wrote in The Angels. It's a tip of the hat to the memory of Chris and he's on this album and singing lead.
18 - Face The Day - Melbourne Showgrounds, 1980
This has become one of our biggest live numbers…it features Rick in a big way on lead guitar. John and Doc wrote the lyrics at Paradise Studios.
19 - Don't Waste My Time - Bankstown RSL, 1987
This was a hard song to play with an odd vocal phrasing in the chorus. It took a lot of rehearsal to get it right - but it always went over well. Jim Hilbun sang the choruses.
20 - Back Street Pick Up - Beyond Salvation Live, 1990
This was recorded for a concert film. Fans were always doing something to make Rick smile. During his guitar solo he looked down into the front row and saw a chick on her boyfriend's shoulders. She was topless and sucking a lemon.
21 - Let The Night Roll On - Beyond Salvation Live, 1990
Rick wrote this one for the Beyond Salvation album, wanting to write a big rock song that celebrates what we do and what the punters do at a gig. The album was a hit and went to number one.
22 - Dogs Are Talking - Beyond Salvation Live, 1990
The funniest thing we remember about this is playing it at Cessnock Jail. We were worried about playing it because snitches in Australian prisons are called 'dogs'. But the inmates all loved it and sang along.
23 - Shadow Boxer - La Trobe Uni, 1979
This song was notable for the way Doc used to perform it. He'd be manic. He'd choose a guy in the front row and start by gently smacking him on the face and do the full boxing routine and they'd have a shadow-boxing bout between them during the solo.
24 - Can't Shake It - La Trobe Uni, 1979
Again Doc's performance while singing 'got a monkey on my back' was stunning. The way he used to perform that line was like there was a real live monkey on his back. He was very cool. It was a great opportunity for the band to stretch out in the instrumental where Chris would play some lovely bass, while John and Rick would play with the riff.
25 - Live It Up - St Leonard's Park, 1977
This was from the Double J concert in St Leonard's park and was mixed by Keith Walker. This one began as a Bo Diddley jam with blues harmonica, a great song to play.
26 - Mr Damage - Bombay Rock, 1983
This was initially written after Rick met a bikie called 'Damage' at the Comb and Cutter pub in Blacktown. The venue had exposed beams in the ceiling and guys would hang off the beams. The place was jammed like sardines. Rick went home and sat up all night writing 'Mr Damage'. It became a huge song for us live.
27 - Marseilles - Bombay Rock, 1983
We almost always finish our live set with Marseilles. Written by John in desperate times. This live take is a great example of Doc working the audience. He would often get a girl up on stage during the break down.
28 - Eat City - Narara, 1983
Jim Hilbun played sax on this. Rick basically wrote it, piecing together lyrics from Doc's notebooks.
29 - Take A Long Line - La Trobe Uni, 1979
This is the famous song where Doc would hold the towel above his head at the beginning. It was Rick's song and always got a huge response live. We used to rehearse in a basement in Balmain. It'd get so hot in there that we'd strip down to singlets and we'd work day after day. We would write new songs during the day and would often play the song that night. Fame hadn't come along in those days.
30 - Comin' Down - Elizabethan Theatre, 1987
After The Rain was the single and we included a few live tracks on it. The photography from that EP was from the Tivoli in Adelaide. It had a mezzanine and it was wall to wall people wherever you looked. Back in those days we had a fantastic, dedicated road crew, Ashley Swinfield, Bob Daniels and Ray Hawkins. We used to play this song in the 'run home' when we were closing our set.
31 - City Out Of Control - Bombay Rock, 1983
Back in those days it was a chance for John to get out the back for a cigarette (normal or 'funny'). Rick would do a long intro with his whammy bar imitating cars and the sounds of the city. It'd build to a crescendo…it was a wonderful stage moment.
32 - Fashion And Fame - Bombay Rock, 1983
One of our roadies was thrown out by the bouncers before we played. But we got him back in…crazy days. It was a popular song with the fans. It was written in John's place at Concord on a 4 track cassette recorder.
33 - Easy Prey - Hordern Pavilion, 1983
This was recorded at the Hordern Pavilion, it was a fantastic gig. The band at this stage was Doc, the Brewster brothers, Jim Hilbun and Brent Eccles. The song was a piano piece Rick used to play a lot called 'The Chaplain's Drum'. It's very dark…and about homeless people.
34 - Into The Heat - Sylvania Hotel, 1981
This is from the Sylvania Hotel; this is real pub rock. We were fresh from the Back In Black tour with AC/DC. Buzz left at the end of 1980 and Brent joined in 1981. It's a really good song…we've hardly ever played it.
35 - No Sleep In Hell - Hordern Pavilion, 1983
We recorded this initially in the studio for the Watch The Red album, John sang it. We wrote the song and it was too high a key for Doc to sing. We didn't play it live for very long…it was a chance for Doc to take a break. He was such a dynamic front man, it gave him a chance to get his breath back. It sounded great in the key of 'D' and John belted his lungs out.
36 - Waiting For The Sun - Bridge Hotel, 2014
We recorded this live a week before the Talk The Talk album came out. We had to lock the song into the memory banks quickly. Waiting For The Sun was when Dave joined the band and we wanted to write songs that belonged to this line-up. When Dave joined, the spirit in the band was fantastic. Written in John's kitchen. It was the first single for The 'new' Angels.
37 - Talk The Talk - Bridge Hotel, 2014
From the moment we started playing it at the Espy, St Kilda, we were blown away by the response we got. It was like the early days when we'd play a new song live and if we got a good reaction, we'd record it. It was getting the same response as the biggies. It was instant.
38 - Nations Are Falling - Bridge Hotel, 2014
That was written, lyrically, by our drummer Nick Norton. We played the entire Talk The Talk album two nights running and this one leapt out of the speakers.
39 - I Come In Peace - Bridge Hotel, 2014
Rick wrote this with Ross Wilson years ago. It rose to the surface again when Joe Cocker recorded it and had a hit with it in Germany. Young Harry Brewster jammed on this one…we had four Brewsters on stage.
40 - No Rhyme No Reason - Bridge Hotel, 2014
We really wanted to finish the album with this song. It was a wonderful way to close the set. The song means a tremendous amount to us because Rick wrote it about Chris. At the end of the track Dave says 'God bless you Chris' and it's a special tribute to him. He was a wonderful human being.
After morphing from The Moonshine Jug & String Band in 1974 the group embarked on a new path under the name The Keystone Angels. In a decision that would change the face of Australian music forever they were signed to Alberts Music from a meeting with legendary producers Vanda & Young.
Stripping their name back to simply The Angels the band started a recording career that spawned dozens of studio releases with enormous radio and chart success.
The Greatest 'Studio' Hits release brings forward 40 of the band's best album recordings. Each and every track has been carefully chosen to reward listeners with a valuable insight into the unarguable influence The Angels music has exercised over the course of this country's modern rock history.
1 - Am I Ever Gonna See Your Face Again?
This is an early composition, written mostly by Doc in 1974. It was the first song recorded by George Young and Harry Vanda when the band signed to Alberts in 1977 and released it as the A side of their first single. Ironically, for a song that became one of the band's most loved with it's famous audience 'response', it sank without a trace at the time.
2 - Round We Go
This track was originally recorded with Charlie King on drums, the B side of Am I Ever Gonna See Your Face Again?, re-recorded with Buzz and Chris in 1977 but never released. Doc and Rick recorded vocal and lead in 2008. The end result is a killer!
3 - Shelter From The Rain
Written by John as an acoustic song years before The Angels started, about a girl he was in love with. It was not part of The Angel's early repertoire but when John played it to George Young he suggested they record it as a rock song - and it worked!
4 - Whitest Lady
When the band moved to Sydney in 1974, Rick used to spend endless hours photographing and talking to street people, junkies and hookers around Kings Cross and Darlinghurst. Their stories led him to write this sad song. The track was recorded in 1978 and Doc's wonderful vocal was recorded at Alberts Studios in 2008 along with new guitars from Rick and John. Beautiful keys and guitar and Doc's voice is just soaked with emotion.
5 - After The Rain
Written during 1977 in the infamous Car-O-Tel, St Kilda, residence of choice for interstate bands in those days. John was deeply moved by a TV special on the Holocaust and the genesis of the song came about as a result. It was later completed with Rick and Doc as they drove back to Sydney after a Newcastle gig, in their old Holden EH station wagon.
6 - Take A Long Line
Written by Rick in what served as a dressing room side of stage at Chequers Night Club, lyrics inspired by Sydney homeless derelicts and the girls on Mandrax sliding down the walls. Rick and John had an all night session at Alberts and came up with the solo chords, in a different key to the song.
7 - Marseilles
Buzz, Chris, John and Rick were all jammed into Studio 2, Alberts, Marshall 100 watt amps, bass rig and drums all mixed together - blow your brains out loud - but a great sound. The final take was an early one and no thought had been given to how or when the song should end but the long climax felt so good, it had to be kept and it left Rick counting bars and jamming all night until he came up with the soaring solo, one of his best.
8 - Be With You
The band were given the keys to the amazing Alberts studios and went in at every opportunity. One night after watching AC/DC record Let There Be Rock, Doc and John took acoustic guitars into the room where Bon Scott recorded his vocals. There was a grand piano there. By the time they left in the early hours, they'd written this song, along with Love Takes Care.
9 - I Ain't The One
Written by John. This song marked a huge turning point for The Angels. While working it up in the studio, the guitarists started playing the 'nic-nic' sound (as they refer to it). "We muted the chords, buttoned down and just played eigths, Buzz and Chris just nailing the groove" says John. Up until this point they still hadn't developed a distinctive 'sound' of their own, they were still evolving. "Suddenly we got it - nic-nic-nic-nic-nic. We were jumping on chairs and pumping the air with our fists, totally excited!"
10 - Comin' Down
Rick: "John and I were jamming on an A chord - got a groove going. Doc and I went into this little junk room with an acoustic guitar and just sang, "Looks like it's comin' down on me" over and over on the A chord, full pelt. This was the last track that George and Harry (Vanda / Young) produced for The Angels. Released as a single in 1977, ignored by radio at the time but became one of the biggest live songs, audience chanting the choruses full tilt. Chris Bailey used to smack his bass guitar chanting, "For Big Brother…".
11 - Who Rings The Bell?
This is an out-take recorded during the Face To Face sessions at Alberts. It wasn't put on the album because the band had played a Radio JJ concert at St Leonards Park in Sydney which was recorded by Keith Walker and the live version was considered more representative of the band. That concert was a turning point for the band's popularity.
12 - Save Me
Supporting David Bowie on his 1978 tour was huge for The Angels and Bowie's guitarist Adrian Belew took Rick aside and showed him some of his tricks on the guitar. It inspired him to write a different style of solo and to start a song with it which evolved into Save Me. In those days Doc, Buzz, John, Rick and Chris would work up new songs, take them onstage and see what kind of response came from the fans. If it was good, they'd record the song.
13 - Shadow Boxer
Late one night in Kings Cross, John watched a drunk shaping up to a NO STANDING sign and throwing punches at it. That drunk will never know he was the inspiration for one of The Angels' great songs! Next day Doc was at John's house and between them, they completed the lyrics.
14 - Can't Shake It
Doc's words to John's riff. First played as a jam at the Arkaba Hotel in Adelaide. The band went to Sydney the next day where it was immediately recorded at Alberts. The funny noise (mee-op) at the beginning is Mark Opitz switching on the tape a few seconds after the guitars began playing. The take had so much magic it was kept.
15 - No Exit
This was a Brewster / Neeson / Brewster collaboration, using lines from Doc's notebook. By this stage every venue the band played was jam-packed. The band were surveying the carnage after a gig in a Sydney theatre (The Capitol) - broken statues, ripped up seats, shattered glass and beer-sodden carpets. They looked at the NO EXIT signs over the doors and said, "That's it! That's the next album title!". And that was the song's inspiration.
16 - Out Of The Blue
Written by Doc and John to a chord progression and melody of Rick's. Rick (a trained classical pianist) played keyboards on this one; (a Hammond organ and a Roland Revo) and took them on the road with him. The groove from Buzz and Chris gave the song a great atmosphere. This became one of the few songs where Rick broke character from his statuesque stage personality - he put down his guitar and turned to the keyboards! (Audience gasps - "HE MOVES! HE MOVES!")
17 - Mr Damage
There was a hit by Plastic Bertrand sung in one note at a punk style pace with chords moving around beneath it. Rick was inspired to write something similar for The Angels. At the famous Comb and Cutter in Blacktown where the fans were literally hanging off the rafters, he'd met an imposing bikie in full club colours called 'Damage'. Driving home with a one note melody running through his head, and the line "…waiting for Mr Damage", Rick stayed up all night working on it and presented it to the band next night at the Stage Door Tavern. The song became a huge live number…fans would hold up signs saying "Please play Mr Damage!!"
18 - Ivory Stairs
The band played this one in similar style to Take A Long Line. Doc would use the drum riser as the Ivory Stairs, "…slipping on the first step". A great vehicle for Doc's manic stage presence.
19 - No Secrets
…began life as a gentle ballad by Doc and Buzz. It didn't sound much like an Angels song at first but it had great melody and beautiful lyrics inspired by a girl 'Amanda the actress' that Doc met in a cab. The band revved it up in rehearsal and Rick re-wrote the chorus. The song was transformed! It became a huge single and introduced hoards of girls to the band's gigs with the effect of changing their audience from being male dominated to more of a 50/50 mix to the delight of the young men onstage. The unforgettable melody through the outro is courtesy of Chris Bailey.
20 - Poor Baby
From the Dark Room album - John's chord riff and Doc's lyrics. Features one of Rick's most melodic and soaring solos ever. Also has Rick on Hammond organ - a great song to play live and a terrific example of the exciting grooves this original lineup could produce…it swings!
21 - Wasted Sleepless Nights / Dark Room
Rick pulled this one from two or three songs he'd been working on. He was into piecing together obscure lyrics at the time, plucking lines from his notebook and creating prose that had even him scratching his head! This was called 'Staring Voices' at one stage. The eventual title was probably a more accurate reflection of where it came from.
22 - Face The Day
The band recorded the music for this (by John) and then Doc and John went upstairs to a small room (at Paradise Studios, Sydney) and wrote the lyrics. The film clip with Doc in pyjamas and the band in trench coats walking up George Street Sydney in the early hours is amazing. During this time at Paradise, the news came through that Bon Scott had died. The band were shattered. It had been Bon and the Young brothers who'd brought The Angels to Alberts Productions attention.
23 - Devil's Gate
Written and recorded at Paradise Studio with American John Boylan producing and Mark Opitz engineering. The band were looking for a fast song - Rick began riffing around on the guitar and came up with the syncopated feel and then John, Doc and he came through with the lyrics. A rare 2/4 groove for the band and a chance for John to play some blues harmonica. Doc's "fuck you spook!" got the song banned in America because of the word 'spook'.
24 - Fashion And Fame
Recorded at EMI's Sydney 301 studio. John and Brent had just mic'd up a snare drum in the toilet of Studio A for the recording sessions of the Night Attack album. They walked into the corridor and there was Stevie Wonder. John - "We were introduced to him and we had a chat - you don't forget something like that."
25 - Night Attack
Rick spent many nights hanging out in Sydney's seedy Kings Cross. Often pumping coins into 'Asteroids' game machines for hours. At break of dawn a girl was coughing her guts out - he asked if she was ok. She pulled out bottles of cough syrup from her bag…she was hooked on the stuff. Somehow he wound up in a junkie's kitchen where prostitutes came in after earning enough for heroin, injected right there, threw up and passed out. This one came from the darkness of those Kings Cross nights.
26 - Eat City
The band's new bass player American Jim Hilbun played sax on this one and the band were filmed at Brent's house, the garage mostly, on a warm Sydney evening. Most of the lyrics came via the treasure trove of snippets, prose and two line couplets in one of Doc's notebooks.
27 - Watch The Red
Rick was in the crowd as a New York street gypsy played Three Card Monte. "Watch The Red" she chanted, moving the cards across an upturned cardboard box. Rick watched a rabbi play $20. He followed the shuffled cards - when the gypsy turned up the red queen, it was where he picked it to be. The rabbi won $40 and Rick laid his $20 down. "Black - you lose!" Damn! After blowing another $140, she jumped up…"Police coming!" and scarpered with the rest of the crowd and Rick realised he'd been royally suckered. All captured on his new Walkman and heard at the start of the song.
28 - Stand Up
Another song from the Watch The Red album that Jim Hilbun wrote. It received substantial airplay and was a big single for The Angels. Doc painted his face white for the film clip.
29 - Small Price
This song by Rick, Brent and John was among those presented to MCA Records in the USA by The Angels' management. MCA loved it's great groove and consequently signed the band. The Two Minute Warning album, recorded in LA at a huge cost but recorded in legendary studios (the Record Plant, A&M Studios where 'We Are The World' was filmed), put the band deep into the red and created much dissension. This song was performed on the Australian 'Live Aid For Africa' concert - broadcast on Channel 7 in Oz and MTV in the USA.
30 - We Gotta Get Out Of This Place
It was Jim Hilbun's idea for The Angels to record this Barry Mann / Cynthia Weil classic. They all knew it and spontaneously went "Yeah!". They reversed the way the riff went on The Animals' version and sent it down the scale. There was also the brilliant addition of keyboards by Eddie Rayner (of Split Enz) that made this cover so unique. The Angels' highest charting song at #6 nationally.
31 - Don't Waste My Time
Written by Rick and Bob Spencer (who'd replaced John Brewster after he left the band). A difficult song to play live with it's odd vocal phrasing but a band favourite from The Howling album, produced by Steve Brown. Vocals: Doc on verses, Jim on choruses to handle the higher notes.
32 - Let The Night Roll On
Written by Rick, recorded in Memphis, produced by Terry Manning who'd worked with Led Zeppelin. Terry told the story of Jimmy Page recording with a tiny Fender Champ guitar amp and getting the biggest recording sound from it. That was good enough for Rick and Bob Spencer to go out and buy little single speaker amps to record the whole of Beyond Salvation with!
33 - Back Street Pick Up
Off the Beyond Salvation album, Bob's riffs, Doc's lyrics. Terry (producer) and James Morley (who had just joined the band to replace Jim) helped finish it. The Angels went on a concert tour around Australia to promote this album, supported by Cheap Trick. The clip for Back Street Pick Up was filmed on tour the day the guys were told that Beyond Salvation had gone #1 nationally - and it shows in their performance on the clip.
34 - Dogs Are Talking
One of the five successful singles lifted from Beyond Salvation. Bob and Rick composed the bulk of the music and then Brent and Jim helped finish it. With the backing track recorded and ready for the vocals, Doc went missing for a few days…the tour manager Bicci Henderson was dispatched to track him down and found him floating in a jelly bath contemplating the lyrics to this song and others on the album.
35 - Turn It On
A beautiful song written by Rick, Bob and Doc and released on the Hard Evidence EP to coincide with the Barbed Wire Ball tour, a national tour that also featured The Screaming Jets. John and Jim had rejoined The Angels at this stage, and sixteen years later The Screaming Jets' Dave Gleeson would become The Angels lead singer (in 2011).
36 - Call That Living?
This song, off Skin And Bone, was inspired by sweatshop factory conditions. It was a band effort (Brent, Jim, John, Doc and Rick) composed as they drove along the highway. The backing tracks were recorded at a rehearsal studio in Sydney and the rest was recorded at Rick's house on his new-fangled digital Roland 16 track desk (now a museum piece). The promo clip for this song was one of the best ever made for The Angels.
37 - My Light Will Shine
Another one from Skin And Bone. This is a beautiful ballad written by Rick, Doc and John and harks back to the poetry and feel of much earlier collaborations, such as To Be With You.
38 - Waiting For The Sun
2010 - Dave Gleeson and Nick Norton had joined the band and the Brewsters were keen to produce a new album featuring Dave's fabulous vocals. The lyrics of this song were written by Joe Burnam (of 70's band Supernaut). Rick had a riff he'd been working on and the brothers completed the music for it in John's kitchen. It was recorded at Alberts studios in Neutral Bay for the Waiting For The Sun EP and later included on the Take It To The Streets album.
39 - Talk The Talk
Rick, John and their friend Marcus Ahern collaborated on this, the title track of their most recent album. Chris Bailey, despite being unwell, made it into Alberts for the first three day session that set the wheels of this album into motion. He played on this track and four others. He passed away on the 4th of April 2013. He was a wonderful musician, a great friend and is sorely missed.
40 - Broken Windows
This blues riff had been floating around John's head for years. During the recording sessions for Talk The Talk, the band (now with Dave Gleeson, Nick Norton on drums and Sam Brewster on bass) was plugged in and ready - but with no idea what to record. Rick asked for suggestions - John started playing his riff and the rest kicked in. It just fell together and within twenty minutes they'd recorded it. Soon after, Dave revealed what a fine wordsmith and songster he is when he presented the band with the lyrics and melody for this great song.
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