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Am I Ever Gonna See Your Face Again No Way Get Lyrics

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The Angels
The Angels.jpg

The Forum, November 2008
Background information
Also known every bit
  • The Keystone Angels
  • Affections City
  • The Angels from Angel City
Origin Adelaide, South Australia, Commonwealth of australia
Genres Australian pub rock, hard stone
Years active 1974 (1974)–2000 (2000), 2008 (2008)–present
Labels
  • Mushroom
  • Epic
  • Liberation
  • CBS
  • Alberts
  • Chrysalis
Associated acts
  • The Party Boys
  • GANGgajang
Website theangels.com.au
Members
  • Rick Brewster
  • John Brewster
  • Dave Gleeson
  • Nick Norton
  • Sam Brewster

The Angels are an Australian rock band which formed in Taperoo, a minor beachside suburb in Adelaide in 1974 as The Keystone Angels by Bernard "Doc" Neeson on lead vocals and bass guitar, John Brewster on rhythm guitar and backing vocals, his brother Rick Brewster on lead guitar and backing vocals, Charlie King on drums. In 1976, King was replaced past Graham "Buzz" Bidstrup on drums, Chris Bailey took over bass duties so Neeson could focus solely on vocals, and they changed their proper name to just 'The Angels'. Their studio albums peaking inside the Australian top ten are No Exit (1979), Nighttime Room (1980), Nighttime Attack (1981), Two Minute Warning (1984), Howling (1986) and Beyond Salvation (1990). Their summit 20 singles are "No Secrets" (1980), "Into the Heat" (1981), "We Gotta Become out of This Place" (1987), "Am I E'er Gonna Run across Your Face Over again" (alive, 1988), "Let the Night Roll On" and "Dogs Are Talking" (both 1990).

In the international market, to avert legal issues with similarly named acts, their records have been released nether the names, Angel Metropolis and later The Angels from Angel City, nevertheless the ring has said numerous times that they dislike these names. The Angels take been cited by Guns Due north' Roses and Cheap Play tricks who became friends and touring buddies, Keen White who have covered two of their songs, and Seattle grunge ring Pearl Jam among many others,[i] every bit having influenced their music. Neeson left the group in 1999 due to spinal injuries sustained in a motorcar accident and they disbanded in the post-obit twelvemonth. Subsequently, competing versions of the group performed using the Angels proper name, until Apr 2008 when the original 1970s line-up reformed for a series of tours until 2011, when Neeson and Bidstrup left again. Alternative versions continued with new members, the electric current line upwardly featuring the founding Brewster Brothers on lead and rhythm guitar and Screaming Jets vocalist Dave Gleeson.

The Angels were inducted into the ARIA Hall of Fame in October 1998 with the line-up of Bailey, John and Rick Brewster, Eccles and Neeson. Australian musicologist, Ian McFarlane, declared that "The Angels had a profound consequence on the Australian live music scene of the late 1970s/early on 1980s. [They] helped redefine the Australian pub rock tradition... [their] brand of no-frills, difficult-driving boogie rock attracted pub goers in unprecedented numbers. In turn, The Angels' shows raised the standard expected of alive music. After 20 years on the road, the band showed little sign of easing up on the hard rock fever."[2] Chris Bailey died on 4 April 2013, anile 62, afterwards being diagnosed with throat cancer. Doctor Neeson died on 4 June 2014, aged 67, of a brain tumour.

History [edit]

Early 1970s [edit]

In November 1970, future member of the Angels, John Brewster on guitar, banjo, harp, backing vocals and washboard, and his blood brother Rick on violin, washboard, jug, backing vocals and percussion formed the Moonshine Jug and String Ring, an acoustic ensemble, in Adelaide.[two] [iii] Fellow members were Craig Holden on guitar, Bob Petchell on banjo and harp, and Pete Thorpe on tea chest bass, bass guitar, wash tub and bankroll vocals.[two] [3] In 1971 they were joined by Belfast-born immigrant, Bernard "Doc" Neeson, on guitar and lead vocals (ex-the Innocents), an arts student and quondam regular army sergeant, who already performed locally as Md Talbot.[four] The folk band gigged at local university campuses and cafes.[2] [iv] Holden left in 1972.[iii]

In 1973, Spencer Tregloan joined Moonshine Jug and String Band on banjo, kazoo, jug, tuba and backing vocals.[3] They released their debut four-track extended play, Go along You on the Motility,[3] which made the top v in Adelaide.[2] [4] It independent a embrace version of Canned Heat's "On the Road Again" and iii original tracks: i written by John, ane past John and Rick, and one past Neeson.[5] It was followed in 1974 by a single, "That's All Correct with Me".[6] Both releases were on the Sphere Organisation label owned by John Woodruff, who later became the Angels' talent managing director for ii decades.[ii] [4] In 2015 the grouping were inducted into the Adelaide Music Collective Hall of Fame.[vii]

In mid-1974, Moonshine Jug and String Band changed their name to the Keystone Angels, with the line upwards of John Brewster on lead vocals and bass guitar, Rick on guitar, Neeson on bass guitar and vocals, Peter Christopolous (a.k.a. Charlie King) on drums and Laurie Lever on keyboards.[2] [3] They had switched to electric instruments and began playing 1950s rock and coil on the pub circuit.[2] [four] Rick later recalled "There was a cult following with The Jug Band but if we wanted any real success we had to start an electric band. And so we threw ourselves in the deep end. I went from playing washboard to playing lead guitar. I hadn't even played an electric guitar before then!"[8]

During July and August 1974, they ran a series of ads in Go-Set up, the national teen popular music magazine, announcing that "The Keystone Angels are coming".[ix] Lever left during that year.[3] In January 1975, the remaining members performed, every bit a four-piece, at the Sunbury Popular Festival, then they supported AC/DC during a S Australian tour, and later that yr they were the backing band for Chuck Berry.[two] [4] [x] The Keystone Angels issued a sole unmarried, "Go on on Dancin'", on Sphere during that year.[2] [3] [4]

Late 1970s: Commencement three albums [edit]

In 1976, the Angels signed a recording deal with the Albert Productions label,[two] [four] upon the recommendation of Bon Scott and Malcolm Young (from AC/DC). The group dropped "Keystone" from their proper name and became simply, the Angels, and relocated to Sydney with the line-up of Neeson on lead vocals and bass guitar, King on drums, Rick on pb guitar and John Brewster on atomic number 82 vocals and rhythm guitar.[ii] [three] [4] Co-ordinate to Ian McFarlane, an Australian musicologist, the group "had toughened its sound into a unique brand of beefy difficult rock."[2]

The Angels' first single, "Am I Ever Gonna Meet Your Confront Once more", was released in March 1976, which was produced by Vanda & Young.[2] [3] [4] It was co-written by the Brewsters and Neeson;[11] which is the first of 3 versions of that they released equally singles during their career. They fabricated their Telly debut on national popular music show, Countdown. Later that year, King was replaced past Graham "Fizz Throckman" Bidstrup on drums[2] [3] and Chris Bailey (ex-Crimson Angel Panic, Headband) joined on bass guitar, which allowed Neeson to concentrate on lead vocals.[ii] [three] Bailey had also been a member of Mount Lofty Rangers, with Bon Scott, in 1974.[three]

The band's second single, "You're a Lady Now", was released in July 1977, which was followed a month afterward past their cocky-titled debut album, The Angels – also produced and recorded by Vanda & Young at Albert Studios, Sydney.[2] [3] [12] It included a re-recorded version of "Am I E'er Gonna Run across Your Face Again". Near of its ten tracks were co-written by Neeson and the Brewster brothers.[12] Neeson'southward work as front end man allowed the ring to develop an energetic and theatrical live presence; he typically appeared on phase as a wild extrovert, dressed in a dinner suit, and sometimes a bow necktie, and shaking maracas. Every bit a foil Rick remained motionless and wore sunglasses; he has stated that Beethoven convinced him not to move on phase.

Their second anthology, Confront to Face, was released in June 1978, which reached No. xvi on the Kent Music Report Albums Chart in November and stayed on the charts for 79 weeks.[2] [three] [13] It was accredited equally 4× platinum for shipment of 280,000 units.[2] The album was co-produced past the grouping and Marker Opitz, their sound engineer.[two] [iii] [14] All tracks were co-credited to the Brewsters and Neeson.[14] McFarlane described it equally a "watershed" release for both the group and Opitz.[ii] At the 1978 TV Week Rex of Popular awards Peter Ledger won All-time Australian Album Cover Design Award for his artwork.[fifteen] In October 2010 Face to Face was listed in the book, 100 Best Australian Albums.[16]

By 1978, they "were Australia's highest paid band, attracting record crowds wherever they played. As the consummate frontman, the charismatic Doctor Neeson injected a strong theatrical edge into the ring's on-stage antics. The Angels were ofttimes seen as a punk/new wave outfit, however the high energy sound, powerful guitar riffing and muscular yet supple rhythm section took the band across such easy categorisations."[2] Ed Nimmervoll of Howlspace website opined that the album "delivered a tough blend of punk and metal. The band brought it home on stage behind their theatrical pb vocaliser, jumping and gesturing maniacally, highlighting the drama in the lyrics. In every way they were one of the near exciting bands in the state, and exhaustive touring brought the band a generation of loyal fans."[4]

Face to Face provided the band'south get-go top 50 appearance on the Kent Music Report Singles Chart with "Take a Long Line", which peaked at No. 29.[2] [13] David Crofts of The Canberra Times defenseless their local gig in Oct 1978, where they were supported by Midnight Oil, "The Angels take a more limited repertoire than Midnight Oil. What the ring does might non be as artistic merely it is adept. Very practiced... The ring'southward raw rhythm is magnetic... one number that is vaguely reminiscent of Lou Reed, 'Coming Down' was my pick of their all-time human activity."[17] In November they supported David Bowie on his first Australian tour,[2] [18] nonetheless Crofts felt that at their Canberra gig they "played disappointingly. They played for only 35 minutes, apparently without feeling what-and so-always... they weren't a patch on their performance at the ANU a calendar month ago."[19] Co-ordinate to Neeson, "Bowie was fantastic. He treated us as his guests. He came downward to our very first sound check and he offered us everything on stage in terms of lighting except for i special 1 that he wanted to proceed."[18] To coincide with the support slot, the Angels issued their first extended play, After the Rain – The Bout, with iii tracks.[2] [3]

In June 1979, No Exit, their 3rd studio album was released, which peaked at No. 8.[ii] [13] It was co-produced by the band and Opitz, again.[3] George Young (of Vanda & Young) contributed equally a backing vocalist on the track, "Out of the Blueish".[20] The Canberra Times ' Greg Falk reviewed their live operation in June, where they were supported by Flowers, "The Angels play to a set up formula in their music. It's fast rock with no empty spaces. Rhythm guitarist John Brewster gives backing vocals to Md Neeson while blood brother Rick Brewster fills in any gaps that take been left. The band's new material sounds very similar to their vivid [second] album... [They] take worked themselves into a tight unit of measurement giving out as much energy as the audience on Tuesday gave back to them."[21] No Exit provided the single, "Shadow Boxer", which peaked at No. 25.[2] [13]

On 29 September of that twelvemonth, Alberts released the Out of the Blueish 4-track EP, which provided the 3rd studio version of "Am I Ever Gonna See Your Confront Again" in three years.[2] The EP reached No. 29 on the Kent Music Study Singles Nautical chart.[2] [13] On New year's day's Eve 1979, the band performed in front of nigh lx,000 people on the steps of the Sydney Opera House.[2] [four] [10] Their fix, however, was cut short when a riot broke out in the audience.[ii] [4] Neeson was cutting by a broken bottle thrown by an audition member, and Bailey was knocked unconscious by another bottle: both were taken to hospital to receive stitches.[2] [4] [22]

1980s: Face up to Face overseas version to Across Salvation [edit]

The Angels signed an international contract with CBS Records and, in March 1980, released a new version of Face to Face up on the Epic Records subsidiary.[23] [24] It is a compilation of tracks from the Australian forms of Face to Face and No Go out,[2] [3] plus an edited variety of the 1979 studio version of "Am I E'er Gonna See Your Face Again" from Out of the Blue. The Australian band billed itself as Angel City to avoid legal problems with the Casablanca Records' glam rockers, Angel.[23] They stated that they hated the international proper noun, Angel City. Nevertheless, they spent over one-half of that yr touring the Us and Canada in support of the album.[23] [24] AllMusic's John Floyd described them, "This roaring Australian combo displays their Ac/DC-cum-punk hearts on a powerful US debut."[25]

The group undertook an international tour with six weeks in the US and a month in Europe.[26] Karen Hughes of the Canberra Times described the grouping's performance in New York, where the "relentless, hard edged, motorcar gun-similar attack won from an extremely difficult audition dotted with rock luminaries Mick Ronson, Ian Hunter and Karla Devito, if null else, respect."[26] Their Los Angeles show was "a subtler version of the 'Affections City' phenomenon, and then familiar to Australian rock audiences. That dark the v-piece band elevated the capacity oversupply, members of new wave bands UFO and Pretenders included, to a truly feverish climax that begged three encores."[26]

"Nosotros're basically a live band playing rock 'n' curl for people who want to come down and trip the light fantastic."

−Md Neeson[23]

In June 1980, Night Room, their 4th studio anthology was released, which was produced by the Brewster brothers.[ii] [3] [26] The album peaked at No. 5 in Australia and No. 37 on the New Zealand Albums Chart.[13] [27] Its overseas version had re-recorded versions of "Ivory Stairs" and "Straight Jacket" in place of "Alexander" and "I'g Scared". The American band, Great White, later covered "Confront the Day" (from this LP), every bit well as "Can't Milkshake Information technology" from No Get out. Dark Room provided the single, "No Secrets", in May, which peaked at No. 8 on the Australian charts.[2] [13] It was co-written by Bidstrup and Neeson.[28]

2 further singles, "Poor Babe" and "Face the Day" followed, both reached the tiptop 100.[ii] [13] Their performance of "No Secrets" on Countdown in August was described by The Australian Women'due south Weekly 'south Greg Flynn, "A towering and courteous admirer named Doc Neeson, nattily dressed in white dinner jacket and sneakers, was given the nod by a flooring manager and loped onto a black-and-white chequered set. Music erupted from amplifiers dotted around the studio and Doc launched himself into a song about an actress who 'lives in a tower armed with defences she learnt from her mother and friends'. Doctor, for those of you nonetheless faithfully dusting your Glenn Miller records, is lead singer for The Angels – Australia's top drawing live ring."[29]

During October 1980, they supported the Kinks on a US tour, which was a "dynamic double bill of rock music" according to Susan Moore of The Australian Women'south Weekly.[thirty] John Brewster had described their before Australian tour to Moore, "We've actually enjoyed the last year. The national bout for our album Dark Room was a very interesting tour, with lots of high spots."[30]

In March 1981, Bidstrup left the band, reportedly due to non-musical differences, and was replaced past New Zealander, Brent Eccles (ex-Space Flit, Citizen Band), on drums and percussion.[2] [3] Bidstrup was a touring member of the Swingers in that year, he joined the Political party Boys in 1983 and formed GANGgajang in the following year.[2] [3] [31] In May 1981 they issued a non-album single, "Into the Oestrus", which peaked at No. 14.[two] [13] It was followed on 24 October by a four-rails live EP, Never And so Live, recorded by the new line-up, which reached No. 17.[ii] [3] [xiii] On the strength of a new track, "Fashion and Fame", it shipped eighty,000 copies[ commendation needed ].

In Nov 1981, the group's fifth studio anthology, Nighttime Assail, which was produced by Ed Thacker and the Brewsters, was released.[ii] [3] [32] McFarlane felt information technology "saw the songs moving into heavy metal territory", which peaked at No. 11 in Australia and No. fourteen in New Zealand.[2] [xiii] [27] Equally their third international album, Nighttime Attack, included a remixed version of "Back on You", previously available on the flip-side of the "Into the Oestrus" single. Early in 1982 Bailey left the grouping due to "visa issues that prevented his joining the band in the US."[33] Los Angeles-based session musician, Jim Hilbun (Holly Penfield, see Ian Ritchie), was recruited equally his replacement on bass guitar, vocals, saxophone and organ.[2] [3] Bailey joined Adelaide-based rock group, Gotham City, in late 1982 alongside Bidstrup; two years later the pair were founders of GANGgajang in Sydney.[2] [3]

In Jan 1983, the Angels headlined the countdown Narara Music Festival.[34] Neeson arranged for the performance to exist filmed,[34] as he intended information technology to be his last with the band, he had initially planned to get out the group and pursue an interim career. Live at Narara, with xi tracks, was released on VHS in 1988 via Mushroom Video.[34] The film crew were Greg Hunter, Andy Capp and Garry Maunder on cameras; Matt Butler every bit editor; directed by Bernie Cannon; Neeson as executive producer and produced in association with radio station, Triple M.[2] [34] McFarlane felt it "featured the band delivering an absolutely blistering performance."[2] After the festival Neeson continued with the group.

In May 1983, they released their sixth studio album, Watch the Reddish, which was produced by the Angels,[ii] [3] and engineered by Andrew Scott and Al Wright. It peaked at No. 6 on the Australian nautical chart and reached the top 50 in New Zealand.[thirteen] [27] It fulfilled their obligations to CBS and Epic Records and they signed with Mushroom Records with overseas distribution past Music Corporation of America (MCA).[4] Shane Pinnegar of 100% Rock Mag revisited the anthology in May 2014 and felt it "wasn't so much a left turn for The Angels as a widening of their sound palette... [Hilbun was] to surprise the band as much as the fans when he proved to be a very capable sax player... a fascinating album, a standoff of intellectual observational lyricism, a manic confrontational mix of personalities in the ring, and a demand to evolve slightly beyond the direct pub stone they had made a name for themselves playing for the previous x years."[35]

The lead single, "Stand Up", written by Hilbun, reached No. 21 in Australia.[2] [13] [36] The album, critically acclaimed for its musical creativity, featured saxophone leads from Hilbun, John Brewster on pb vocals for a rail ("No Sleep in Hell"), and even a piano accordion. Material was derived from a 40-minute jam-session, later released in Commonwealth of australia as "The Blow", including an instrumental track and some improvised lyrics from Neeson. Recording sessions were interrupted by a fire, which gutted the studio, almost destroying the master tapes. Its 2nd single, "Eat City", peaked at No. 22.[2] [13] During 1983 they toured the US over again, they were the support deed for the Kinks.[37] In April 2010 Neeson appeared on ABC-TV'south pop music quiz, Spicks and Specks, series 6, episode 12, where he claimed that Ray Davies (lead vocaliser of the Kinks) was "scared about the applause we got equally a support act."[37] During the tour Davies directed that the Angels' stage lights be halved and finally he took them off the tour prior to the last prove at Madison Foursquare Gardens.[37]

The Angels' 7th studio album, Two Minute Warning, was released in January 1985, following a three-calendar month recording stint in Los Angeles with Ashley Howe producing.[2] [three] Information technology peaked at No. 5 in Australia and the top twoscore in New Zealand.[13] [27] The anthology's fourth Australian unmarried, "Underground", was released in mid-1985 and reached the top lx in Australia,[ii] [13] In the Us it had been released earlier and peaked at No. 35, in February, on Billboard 'south Mainstream Stone Songs.[38] The U.s.a. anthology, on MCA, included a re-recording of their 1978 song, "Be with You lot", which became the grouping's terminal commercially available unmarried in that market. Metallic Blade Records re-issued the anthology in 1990.

Unfortunately for the band, a personnel purge at MCA meant that 2 Minute Alarm received little back up from the characterization. MCA rejected the grouping'due south next anthology. As Angel Urban center, they performed four songs for the July 1985 Oz for Africa concert, part of the global Live Aid program: "Small Price", "Swallow City", "Underground", and "Have a Long Line".[39] [40] They were broadcast in Australia, (on both the Seven Network and Nine Network), and on MTV in the US.[40]

John Brewster left the band in February 1986, his terminal concerts were on 27 January – a double in Melbourne at the Sidney Myer Music Bowl and so the Palace Theatre.[ii] [3] In his identify they hired ex-Skyhooks guitarist Bob Spencer in March.[2] [3] John Brewster joined a new version of the Political party Boys in that year and remained until 1989.[3] [31] In October 1986, Howling, their eighth studio album, which was recorded at Sydney'southward Rhinoceros Studios with Steve Brown producing (United states, Cult, Wham), was released on Mushroom Records.[2] [iii] [41] It reached No. 6 in Australia and No. 10 in New Zealand.[13] [27]

Eccles explained to Pollyanna Sutton of The Canberra Times how the group's sound had adult: "The alter started when John Brewster left. He virtually ran the band and there were a lot of things we would have liked to have done with 2 Minute Warning. Howling is the follow up. We experimented with stuff then and dissimilar instruments and with this album we sealed it with new instruments and bankroll singers correct up at that place. It really represents what the band is capable of."[41] Information technology provided a cover version of the Animals' hitting, "Nosotros Gotta Get out of This Place" in January 1987 which, at No. 7, became the band'south highest charting single in Australia.[13] It peaked at No. 13 in New Zealand.[27]

In December 1987, a double live album, Live Line, was released, which peaked at No. 3 in Commonwealth of australia and No. 13 in New Zealand.[two] [3] [13] [27] The collection spanned ten years of their career. Most of its tracks were recorded at the Bankstown RSL Gild, Sydney, with some taken from earlier tours with John Brewster. The CD version included 4 songs not included on the vinyl release.[iii] A live version of "Am I Ever Gonna Run into Your Face Again" was issued in Jan 1988 every bit a single, which reached No. 11 in Australia and included the outset recording of the audience response chant, "No Way, Get Fucked, Fuck Off".[2] [13] [42] Another single was a medley of "Love Takes Care" and "Be with You" in May.[2]

In May 1988, Spencer broke his wrist as the consequence of an "unfortunate collision" on stage with Neeson.[43] He was substituted, on a national bout, past Jimi "The Human being" Hocking on guitar and backing vocals.[2] [three] Hocking after recalled "I was called upward equally the result of some session piece of work I had recently done. It was originally to fill up in for one night and the tour would be cancelled. The gig went so well, that the ring offered me the guitar spot for the rest of the tour, so overnight I found myself on a major rock tour at 24 years of age."[43] For each gig they provided a lengthy 3-hr set which covered their musical history.[43] Later on the tour Spencer resumed his duties on guitar and Hocking formed a new band, Jimi the Homo and Spectre seven.[iii]

Chrysalis Records in the The states and Nippon issued the group's ninth studio anthology, Beyond Salvation, using the ring name, the Angels from Angel City, in Nov 1989.[ii] [3] [44] It was recorded in Memphis with Al Wright, Andrew Scott and Terry Manning (ZZ Top, Led Zeppelin) co-producing.[2] [3] While working on the album the grouping and Manning "on guitar, played fun gigs billed every bit Dancing Richard and the Dicks and The Cow Demons."[2] During recording sessions Hilbun was replaced by James Morley (ex-Strawberry Blonde) on bass guitar and backing vocals.[2] [3] Hilbun became a member of Richard Clapton's bankroll band in 1989 and then Aroused Anderson'southward band in the post-obit year.[3]

The international version had new re-recordings of previously released tracks, "I Ain't the One", "Tin't Shake It", "Who Rings the Bell", "City out of Command" and "Am I E'er Gonna See Your Face Again", none of which were available in Australia. Alan Niven was signed on every bit their US manager; he also handled Great White and Guns North' Roses.[45] However, Niven soon left the Angels direction.[45]

1990s: Beyond Salvation to Doc Neeson's departure [edit]

Neeson, The Forum, November 2008
Courtesy Mandy Hall

The international version of Beyond Salvation had only included four new tracks, three of these appeared on the Australian form of the anthology, which was released in February 1990 via Mushroom Records.[46] It too had eight new tracks, all produced by Manning, not available on the international format.[2] [3] [46] In June of that year Beyond Salvation became the Angels' get-go and just No. 1 album in Australia, where it remained in the top 100 for 38 weeks and was certified platinum for shipment of 70,000 units.[two] [13] In New Zealand, in September, it reached No. 3 – their highest charting album there.[27]

McFarlane opined that "It was 1 of The Angels' best albums, Manning having stripped the band's sound back to basics and brought the guitars to the fore."[2] The Canberra Times summarised an commodity from US-based, Musician, as "a glowing review... [which] recounted the long history of bum deals and legal problems which have kept The Angels off the American marketplace" with the album showing a "wonderfully off-paw confidence."[47] Nimmervoll observed that "Internationally it was the last throw of the dice. For whatever reason, despite their reputation, the Angels had never established a sustainable international following."[4]

In Commonwealth of australia information technology provided five singles, starting with "Let the Night Gyre On" which peaked at No. 17 in Australia.[ii] [13] The Canberra Times reviewer described it every bit "hard stone, basic equally a scream and powerful as a punch. A taste of things to come... Get your caput ready for a scrap of banging."[48] "Dogs are Talking", reached No. 11 in Australia and was certified gold for shipment of 35,000 copies.[ii] [13] Information technology was co-written by Rick, Eccles, Hilbun, Neeson and Spencer and charted in New Zealand at No. 12.[27] [49]

Their Beyond Salvation Tour had Inexpensive Flim-flam equally a back up act. The flip-side of the Australian version of "Dogs are Talking" featured demo tracks by 3 new Australian acts, which supported the Angels on that tour: the Desert Cats, the Hurricanes and the John Woodruff-managed group, Babe Animals.[2] In New Zealand the B-side of "Dogs Are Talking" featured songs from two local support acts; both were the first releases: Nine Livez' "Live It Upward" and Shihad'due south "Down Dance".

"Back Street Pickup" peaked in the top thirty in both Australia and New Zealand.[2] [13] [27] Its music video was filmed the day the band were told of the album reaching number one on the charts and shows a buoyant and enthusiastic band performing.

Red Back Fever, their tenth studio album, had partly been recorded in Memphis during the Beyond Salvation sessions, and was released in November 1991.[2] It was co-produced past the group with Steve James, which reached No. 14 in Australia and the superlative 50 in New Zealand.[iii] [13] [27] The ring toured for two years, and the anthology's third unmarried, "Tear Me Apart" (July 1992), was included in a multimillion-dollar regime campaign highlighting alcohol-related violence.[fifty] [51] It reached the top 40.[13] Likewise in that month Mushroom re-issued the anthology as a ii-CD ready: Scarlet Back Fever / Left Hand Drive; the latter contained unreleased and rare tracks.[2] [3] Then they undertook the Alcohol and Violence Tears You Apart tour.[2]

In 1992, Spencer left and Morley followed presently later on, they were subsequently replaced by returning members John Brewster and Hilbun.[2] [3] Spencer joined Black Cat Moan and and then was a fellow member of the Choirboys from 1992 to 2004.[three] Morley joined a string of comprehend bands.[52] In 1993 the Angels performed a 1-off gig at the University of Western Sydney, co-headlining with the Screaming Jets. Other artists on the bill were Mental as Anything, Peter Wells (formerly of Rose Tattoo) and Wickud Skunk, a band from Tasmania.

In 1994, the New Zealand chapter of Hells Angels asked the band to perform. They issued a compilation anthology, Testify in December of that twelvemonth, which included two new tracks: "Don't Need Mercy" and "Turn Information technology On".[2] [iii] The Hard Bear witness Tour E.P. followed in April of the next year which included those two tracks from Evidence and ii more than new ones, "Spinning My Wheels" and "Blueish Light".[two] [3]

In Apr 1995, they head-lined the Barbed Wire Ball bout, a national tour that besides featured the Screaming Jets, The Poor and Who's Guilty. The band took a hiatus from recording and touring, to reconvene in mid-1996 at Darling Harbour studios for the start of sessions for their eleventh studio album, Peel & Os (1998).[2] [3]

In July 1997, the Angels hit the road with the Lounge Cadger Bout, with guest vocalists Angry Anderson (from Rose Tattoo) and Ross Wilson (from Daddy Cool, Mondo Stone).[2] The ring provided acoustic backing for each singer'southward performance, which included works from their corresponding bands. On 13 August of that yr the Angels signed a recording bargain with Shock Records in Australia.

A new single, "Caught in the Night", written by Jim Hilbun with Doc irresolute the chorus lyrics and Rick contributing a chord change, was released in October 1997. It was followed by Skin & Bone, which peaked at No. 29 on the ARIA Albums Chart. On twenty Oct 1998 the Angels, line-upwardly of Chris Bailey, Jim Hilbun. John and Rick Brewster, Brent Eccles and Doc Neeson, were inducted into the ARIA Hall of Fame by Aroused Anderson.[53] In November 1998 the band performed a brief set up at the Concert of the Century in Melbourne to celebrate Mushroom Records' 25th ceremony. On New year's day's Eve 1999 they performed their last concert at the MGM Grand Darwin Millennium Concert. Soon afterwards, Doc Neeson announced his hiatus from the ring following a major automobile accident that had left him with neck and spinal injuries.[54]

2000s: Spinoff bands to reunion [edit]

With Neeson'due south departure, the Angels effectively ceased, although Rick and John Brewster considered recruiting another singer. In November 2000 Shock Records reissued Left Paw Drive. The Australian Broadcasting Corporation featured the grouping in its music serial, Long Mode to the Tiptop, in "Episode 4: Berserk Warriors", broadcast on v September 2001.[55] It, and two subsequent episodes, was issued every bit a video recording, Long Way to the Top: Stories of Australian and New Zealand Rock and Roll: Episodes 4-6: Disc 2, in that twelvemonth.[56] In the episode Neeson described pub venues, "The stench would only hit you lot and the temper was overwhelming, similar a real free energy built out of the claustrophobia... Nosotros looked forward to playing at the Lifesaver 'cause it was the sort of thing where you could get in and effort anything. Once, during the solo, I started throwing fish at the audition."[55]

During the 2000s, competing versions of the group under different names were formed either by the Brewster brothers or by Neeson.[54] In March 2001 a new version, Members of the Angels, with the line-upwardly of Bailey, Bidstrup, John and Rick Brewster and Hilbun on lead vocals. They provided a one-off performance at one of the Ted Mulry Benefit Concerts, which were released on video every bit Gimme Ted.[3] On 24 June 2002 Stupor Records issued The Complete Sessions 1980–1983, a 4-CD box set up of the ring'due south recorded output from Dark Room to the Watch the Reddish albums. Around that time, Bailey, Bidstrup and the Brewsters toured equally the Original Angels Band. Neeson subsequently recalled, "When I had my car accident I was told I was going to end upward in a wheelchair for the residue of my life. We made an agreement about the use of the name The Angels because they wanted to continue."[57]

In the meantime, Neeson, Hilbun and Westfield chief executive David Lowy formed Red Phoenix, releasing an album and touring briefly during 2005.[57] In July 2006 Liberation reissued much of the Angels' catalogue including Dark Room, Night Attack, Lookout the Ruby, Two Minute Alert, Howling, Beyond Salvation, Ruby Back Fever and Wasted Sleepless Night – The Definitive Greatest Hits.[3]

Doc Neeson's Angels, Baghdad, Oct 2007.[58] With Neeson are Sarah Graye on bass guitar, Mitch Hutchinson on guitar, Dave Leslie on guitar and Mick Skelton on drums. They played on the Tour de Force for Australian service personnel in Afghanistan, Iraq and Kuwait.[58]

On four December 2006 Live at the Basement was released, which was recorded by the Bailey, Bidstrup and Brewsters: once once again using the name, the Angels. In September 2007 Neeson won a legal injunction to end them from using that name.[54] [57] Equally a office of the Countdown Spectacular ii, he toured Australian capitals equally Doc Neeson's Angels from 18 August to 5 September 2007. He used the line-up of Hilbun, Lowy, Dave Leslie (ex-Babe Animals) on guitar and Paul Wheeler (ex-Icehouse), who was later replaced by Mick Skelton, on drums.[59] The Neeson version released an anthology, Acoustic Sessions (1 September 2007),[57] using Hilbun, Leslie and Tim Powles on percussion, via Liberation Blue. The Brewster-led band meanwhile released an EP, Ivory Stairs.[57]

In Oct 2007, Neeson's band joined the Tour de Force, which performed in the Centre Eastward for 13 shows in sixteen days for Australian service personnel in Transitional islamic state of afghanistan, Republic of iraq and Kuwait.[58] His line-up for the tour was Leslie, Skelton, Sarah Graye (ex-Nitocris) on bass guitar and Mitch Hutchinson on guitar. While in the field Neeson was presented with two medals, National Service Medal and the Australian Defence Medal, by Major General Mark Evans in Baghdad.[58] Wasted Sleepless Nights: The Definitive Greatest Hits [sixty] was released equally a DVD on 11 July 2007. Information technology included live footage never before released, and tracks recorded alive from ABC'due south Studio 22.

Paul Cashmere of Undercover.com.au announced the reunion of Neeson with Bailey, Bidstrup and the Brewster brothers, as the Angels in April 2008.[61] [62] The re-formed band played a cord of dates from June to Baronial 2008, which included commemoration of the 30th anniversary of their album, Face to Face.[61] The "uneasy reconciliation" between the members was shown in a documentary, No Way, Get F*#ked, F*#one thousand Off! (xi October 2008) screened on SBS-Tv set.[63] Information technology was directed by Ben Ulm, produced past Stu McCarney, edited by Francine Thomson, audio mixed by Mark Tanner and original score by Rick Brewster.[42] It was released on DVD, nether the same name, via Beyond Abode Entertainment, later on that year.[42]

2010s: Neeson solo to Gleeson on lead vocals [edit]

Their 40-year journey is akin to a Shakespearean epic, with endless line-up changes, members taking legal action confronting each other, brothers falling out, incredible highs and stupid dumb lows ... But for two or three years around 1978–81 The Angels were 1 of the nearly brilliant bands of the country.

–John O'Donnell, Toby Creswell and Craig Mathieson in 100 Best Australian Albums (October 2010).[16]

In late 2010, Neeson announced that he would resume his solo career. He went on to course the Angels 100% with Bidstrup, Hilbun, Morley, and Spencer. They performed a sole private prove to i,000 people at a mining installation in Western Australia in late 2012.[ citation needed ]

In May 2011, Bailey and the Brewsters recruited drummer Nick Norton, and Screaming Jets singer (and MMM FM radio DJ), Dave Gleeson to front the Angels.[64] Bidstrup and Neeson claim "the remaining three members of the ring have contravened an agreement by bringing in 2 new members to tour Australian pubs as The Angels."[64] Nevertheless, this line-upwardly recorded new tracks for the beginning fourth dimension since the late 1990s. In June 2011 they released an EP, Waiting for the Sun, and toured Commonwealth of australia in support through to 2012. In January 2012 they recorded a live album, the Angels kickoff in two decades, at the QPAC theatre in Brisbane.

On 31 Baronial 2012, the Angels, with Gleeson aboard, released their first new studio album in 14 years, Take It to the Streets, which peaked at No. 24 on the ARIA albums chart.[xiii] [65] On the aforementioned day they also released "Alive at QPAC", the band's start live album since 1988's "Liveline". It was briefly available as a 2× CD album.

In November and December 2012, the Angels with Dave Gleeson joined the Babe Animals and the Hoodoo Gurus for the national A Day on the Greenish tour,[66] resulting in a headlining bear witness in front of 8,500 in Perth. Likewise in November the Angels with Gleeson began recording songs for a new studio anthology, and appear their Take It to the Streets national bout, from 22 February to 20 April 2013.[66] Yet, in Jan 2013, Bailey was diagnosed with pharynx cancer, and John Brewster'south son, Sam Brewster, would step in for him playing bass on tour. Sam would become the official bass player for the band after Bailey's death from the cancer on 4 Apr 2013 at age 62. In Feb 2014 they released a 2d album with Gleeson, Talk the Talk, which reached the elevation 50.[13]

From November 2019, The Angels co-headlined the "They Who Stone 2019" bout with Baby Animals. The promote the tour, The Angels released a encompass of The Baby Animals' "1 Word" and the Baby Animals covered The Angels' "Marseilles", both released on ane Oct 2019.[67]

2020s [edit]

In June 2020, the Angels released the EP Under the Stone, the first new material in 6 years.[68] In 2020, The Angels were listed at number 45 in Rolling Rock Commonwealth of australia 's "50 Greatest Australian Artists of All Time" issue.[69]

Unusually for a rock band, they performed with the Adelaide Symphony Orchestra in December 2021 in a special concert named "Symphony of Angels".[seventy]

Illnesses and deaths [edit]

In January 2013, it was announced that Chris Bailey had been diagnosed with a pharynx cancer, and his place on bass guitar with the Angels was filled by John Brewster's son, Sam. Bailey died on 4 Apr 2013, aged 62.[71] [72] A tribute concert for him was held at Thebarton Theatre on 17 April.[72] Gary Bradshaw of Amnplify described how "the planned benefit gig turned into a night to celebrate Chris' life and his contribution to Australian music over many years."[73] The Angels and other fellow Australians performed.[73]

On ten Jan 2013, Neeson revealed that he had been diagnosed with a encephalon tumour and would undergo immediate treatment.[74] At a benefit concert, Stone for Physician, in April Neeson told the audience, "The news is grim. But some people can actually get right through and that's the mode I'one thousand trying to think about things. And then I'm looking frontwards optimistically to the future... And I've been ill with a encephalon neoplasm, and my doctors told me non to come up out this night. But the evidence goes on!"[75] He performed two songs; other artists at the Enmore Theatre were members of Midnight Oil, Rose Tattoo, Noiseworks, Cold Chisel, Dragon and Mi-Sex.[76] On 4 June 2014, Bernard "Md" Neeson died of his brain tumour, anile 67.[77]

Personnel [edit]

Timeline [edit]

Discography [edit]

  • The Angels (1977)
  • Face to Confront (1978)
  • No Exit (1979)
  • Dark Room (1980)
  • Night Attack (1981)
  • Watch the Red (1983)
  • Two Minute Warning (1984)
  • Howling (1986)
  • Beyond Salvation (1990)
  • Blood-red Dorsum Fever (1991)
  • Skin & Os (1998)
  • Accept Information technology to the Streets (2012)
  • Talk the Talk (2014)

Awards [edit]

ARIA Music Awards [edit]

The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. They commenced in 1987. The Angels were inducted into the Hall of Fame in 1998.[78]

Male monarch of Pop Awards [edit]

The King of Pop Awards were voted by the readers of TV Calendar week. The King of Pop award started in 1967 and ran through to 1978.[79]

South Australian Music Awards [edit]

The Due south Australian Music Awards (previously known as the Fowler's Live Music Awards) are annual awards that exist to recognise, promote and celebrate excellence in the Southward Australian contemporary music manufacture. They commenced in 2012.[80] [81]

Boob tube Week / Inaugural Awards [edit]

Countdown was an Australian pop music TV series on national broadcaster ABC-TV from 1974 to 1987, it presented music awards from 1979 to 1987, initially in conjunction with magazine Television set Week. The Tv set Calendar week / Inaugural Awards were a combination of pop-voted and peer-voted awards.[82]

References [edit]

General

  • Mason, Darryl Peter (2014), No Secrets: The Untold Story of Doc Neeson and The Angels, North Sydney: Random House Australia, ISBN978-0-85798-678-8
  • McFarlane, Ian (1999). "Whammo Homepage". Encyclopedia of Australian Stone and Pop. St Leonards: Allen & Unwin. ISBNone-86508-072-1. Archived from the original on five April 2004. Retrieved 22 December 2016. Note: Archived [on-line] copy has limited functionality.

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External links [edit]

  • Official website
  • The Angels discography at Discogs

glovermousee1986.blogspot.com

Source: https://en.wikipedia.org/wiki/The_Angels_(Australian_band)

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