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The story of LITTLE RIVER BAND started in London in 1974. GLENN SHORROCK, who had already released several fine recordings with bands such as THE TWILIGHTS, AXIOM and ESPERANTO, as well as a solo artist, had decided that he had been working with bands much too long. At that point in time he was tempted to pursue another line of employment and go back to his mother country, Australia.
Please, be sure you also read the GLENN SHORROCK biography by clicking here!
by Glenn A. Baker
It was when BEEB BIRTLES called him in London around October 1974 to suggest forming a new band with SHORROCK being the lead singer. "I said, no thanks, I've had enough, I've got to get out of his business for a while," SHORROCK replied. "But he, Graeham Goble and drummer Derek Pellicci were very persuasive and they had some great songs. So I jutted my jaw, gritted my teeth and said I'd get involved. We all agreed to meet in Melbourne early in 1975."
BEEB BIRTLES, who was a member of the less successful MISSISSIPPI at that time, was staying in London with his band mates GOBLE and PELLICCI, discussing the reasons for the failure of the current line-up of their group.
Be sure you also read the MISSISSIPPI story by clicking here!
recollected by BEEB BIRTLES
This line-up, consisting of members who were formerly playing in well-known Australian bands [AXIOM, THE TWILIGHTS, ZOOT, MISSISSIPPI], had no difficulty finding themselves a recording contract. In June 1975 they signed a contract with EMI Australia, who granted them a AUS$ 15,000 budget for the first album production. The band, now named after a signpost on the road from Melbourne to Geelong, recruited guitar player GRAEHAM DAVIDGE for the very first recording, When Will I Be Loved?, which was originally written by PHIL EVERLY of the EVERLY BROTHERS in 1960. The recording was shelved to be the debut single of the band when LINDA RONSTADT'S version hit the market. But this is the first example of the close harmony vocal arrangements which later became the significant brand mark of the band. Right after this first recording as LITTLE RIVER BAND, guitarist-for-a-day GRAEHAM DAVIDGE left, and the group was now completed by classically-trained guitarist and arranger RICK FORMOSA, plus bassist ROGER McLACHLAN from the band GODSPELL CAST for Mark #2.
With that line-up the band recorded its self-titled debut album 'Little River Band', which contains the legendary nine-minute long It's A Long Way There, a composition of GRAEHAM GOBLE. After the releases of the first single, the BEEB BIRTLES composition Curiosity (Killed The Cat) [9/75] and after that GLENN SHORROCK'S Emma [12/75] as Australian single #2, It's A Long Way There became the debut single of LRB in the United States and later - almost one year after its initial release on the debut album - the fourth to be released in their home country [7/76]. WHEATLEY had offered the band to American firms, and eventually Capitol Records offered release of their material on the harvest label. This single as well as most versions of this song which were later put on compiled albums come in a cut, edited and shortened 4.12 minute-single version, which makes this track lose its entire profile. A lot of music experts estimate It's A Long Way There - in the original full-length version, including extensive guitar solos by RICK FORMOSA - as essential to LITTLE RIVER BAND'S musical biography as Hotel California is for THE EAGLES. The debut album itself was credited with LITTLE RIVER BAND and their manager GLENN WHEATLEY as producers, even though founding member later indicated that GLENN WHEATLEY had little impact on the production itself. Managers of EMI went over the roof when the production expenses exceeded the granted budget by AUS$ 2,000. But maybe they calmed down soon, because LRB was also successful with SHORROCK compositions Statue Of Liberty [which he had previously recorded in 1972 with the ESPERANTO ROCK ORCHESTRA] and The Man In Black. By the end of the year the group commenced recording again, which yielded the publication of their third Australian single, Everyday Of My Life [4/76], again penned by BEEB BIRTLES. The publishing date of the second album was scheduled for late 1975/early 1976, which was later known to be 'After Hours'.
"Early days" at the rehearsal farm, Belgrave, Victoria.
From left: Glenn Shorrock, Beeb Birtles, Derek Pellicci,
Rick Formosa, Graeham Goble, Roger McLachlan (kneeling).
'After Hours' was originally only scheduled to be released in Australia, and therefore lost in the shuffle as far as the world was concerned, even though great songs such as Days On The Road and the above mentioned third Australian single are included. A four-month national tour of Australia followed the domestic success of their first single hits, and after that LRB opened for a QUEEN concert in London's Hyde Park on September 17th, 1976, which meant leaving their home country for the first time since the foundation. Broke Again was taken off of 'After Hours' as the band's next single - the fifth in Australia - which received quite some airplay but didn't leave any impression on the charts. Meanwhile, months after its release in America, the single It's A Long Way There climbed the US charts [eventually landing on #28], and the debut album also reached #80 on the Billboard charts before the end of 1976. On the eve of their departure for a US trip RICK FORMOSA left the band, pursuing an academic musical career and was replaced by DAVID BRIGGS on lead, slide and acoustic guitars.
With this success in the United States and their concept as highly competent adult rock musicians who were creating a textured, harmony-dominant mass appeal sound, it was now time for some new recordings. Due to the friction between the band members while recording and producing 'After Hours', it was decided to enlist the services of JOHN BOYLAN as the co-producer of these next recordings, which took place at the Melbourne Armstrong Studios. The album saw the light of day on the Australian market in May 1977, later peaking at #2 on the Aussie album charts. The album title 'Diamantina Cocktail' describes a fierce frontier brew of Bundaberg rum, condensed milk an emu's egg, a drink which was made back in the old days of the Diamantina River area in Queensland, Australia. Consequently, the cover photo displays the band dressed up in the pertinent clothing of that time. The first single track published from these recording prior to the album's release was GLENN SHORROCK'S Help Is On Its Way [4/77], which went straight no #1 [eventually becoming 'Song of the Year']. This track clearly revealed BOYLAN'S impact as the producer of the recording sessions. Recalls PELLICCI: "John introduced us to multi-track editing. I initially rebelled against having my performances intercut, but after we had most of the overdubs done, the drums sounded lazy, so I recut them as an overdub. It was a nerve-racking experience when we hit that record button, and I knew we were erasing the original drums forever.". The seventh Australian single was another track taken from the album, the BIRTLES and GOBLE collaboration Witchery [7/77], which was originally written as an advertising jingle and later re-constructed to use as a band release. With this new material LITTLE RIVER BAND toured the US as headliners, and joined FLEETWOOD MAC and SANTANA on the 1977 RockArena tour in Australia. Parallel to these proceedings, manager GLENN WHEATLEY requested EMI Records Australia manager STEPEHEN SHRIMPTON to release the band from their contract, so that they could directly sign to the US Capitol Records. SHRIMPTON agreed and the band signed an US$ 8 million contract, which turned out to be fruitful on both ends. Capitol loved LITTLE RIVER BAND because, as BEEB BIRTLES related, "We were so willing to go and do radio, television, and newspaper interviews. Nothing was too much for us to do." The single release of Home On Monday [10/77] coincided with the band's return from their highly successful US tour. In the meantime Capitol Records prepared the release of a US version of 'Diamantin a Cocktail' which significantly varied from the Australian release. The US version compiled selected tracks from 'After Hours' [Days On The Road, Another Runaway, Every Day Of My Life, Broken Again] and the Aussie version of 'Diamantin a Cocktail' [Help Is On Its Way, Happy Anniversary, Home On Monday, The Inner Light, Take Me Home] and spawned two valuable top-twenty hits in the US, Help Is On Its Way and Happy Anniversary. The conspicuous fact that comes to attention is the missing of Witchery on this selection.
Interestingly, Capitol Records later released a re-issue of 'After Hours' for the US and international market, this time combining those tracks of the Australian 'After Hours' and 'Diamantina Cocktail' issues which hadn't been used for the US' 'Diamantina Cocktail' release. No wonder the coherences of these publications yet remain a riddle to many.
With their fourth album release [third in America] 'Sleeper Catcher' the band also scored numerous hit singles, but had to find that Australian radio virtually ignored LRB songs that were in the American Top 3 or Top 10. There they were fobbed off with a Top 20 placing for GLENN SHORROCK'S Shut Down Turn Off and the tag 'Little River Bland' was to be heard on Australian radio corridors, believing the group to be too oriented to the US market.
But it America, a new world opened up for them, with 'Sleeper Catcher' spawning the most successful LITTLE RIVER BAND song ever, the jazzy Reminiscing, written by GRAEHAM GOBLE. "The song's inspiration was romantic Hollywood cinema of the '30s and '40s. You know the kind of thing, some guy walking hand-in-hand with his girl, past white picket fences," GOBLE explains.
With Lady [9/78] being the follow-up single to Reminiscing, GOBLE earned another million selling song, making him one of Australia's most successful music composers ever. At this point, please let me also advise you of another important song on the 'Sleeper Catcher' album, Fall From Paradise, as this one is one of my favorites of the band. It combines the qualities of its classical arrangement, using a full classical orchestra, as well as a soft rock ballad. Additionally combining a Christian point of view with the lyrics of this tune is surely just one piece of evidence for the professionalism and 'compositional' craftsmanship of the band members. I recall GRAEHAM disclosing in an interview, that there are 124 voices to be heard at the beginning of the song! Imagine ... all done without any computers or hard disk recording! Within an eight-month period LITTLE RIVER BAND had three Top 20 singles, two Top 10 albums.
Before the release of their next album bassist GEORGE McARDLE had also left the band. At that time, it became clear that lineup stability was never LRB'S strong suit. Their 1979 success 'First Under The Wire' was LITTLE RIVER BAND'S first and only Top 10 U.S. album, including two Top 10 U.S. hits. The sound of this recording finds the group creeping ever closer to a Middle-Of-The-Road sound, which makes the songs seem sappier than ever, but made the band a massive success in the U.S. 'First Under The Wire' contains hit songs like DAVID BRIGGS' Lonesome Loser and the most successful composition of GLENN, Cool Change.
On top of that success the band members BEEB BIRTLES and GRAEHAM GOBLE released an album as BIRTLES & GOBLE, which can hardly be found today. Recruiting LRB musicians DEREK PELLICCI, DAVID BRIGGS and bassist GEORGE McARDLE, and the well-known session guests BARRY SULLIVAN [bass] and MAL LOGAN [piano & synthesizer], this recording sounds very similar to the LITTLE RIVER BAND harmony vocals. Starting with the magnificent Lonely Lives to the title track Last Romance, BIRTLES & GOBLE prove that they are the nucleus and the guarantee for quality songwriting within the band. 'The Last Romance' was obviously never the big success, but I highly recommend to listen to it whenever you get the chance for that!
Maybe because of this BIRTLES & GOBLE project the next band releases were two live albums 'Backstage Pass' [originally only a single album with the ADELAIDE SYMPHONY ORCHESTRA] and 'Live In America', which were later combined into the two-record-set 'Backstage Pass', containing live recordings from 1978 and '79. Although some still said that the musical qualities of LITTLE RIVER BAND are over-rated and that there's only minimal artistic value in their playing, musicians can tell the difference by this live album! Just listen how they play the fade out of Reminiscing live! Without any mixing, the band disciplines itself into getting lower with the volume step by step ... not many bands are able to do it like this!
It seemed that nothing was scheduled for the band in 1980, and so GRAEHAM GOBLE wandered off to produce another GLENN WHEATLEY protégé, Australian singer JOHN FARNHAM and his 'Uncovered' album. GRAEHAM also wrote most of the songs for this release. I have no information about the success of this long-player, but I would suppose this was in the charts in Australia. FARNHAM was well-known there since the mid 60s, when he had his first hit single, Sadie, The Cleaning Lady in 1967. He also did some highly-acclaimed recordings during the 70s which had already made him a premier Australian artist. 'Uncovered' contains the song Matlida [sounds like a single to me! And a very good one, in my opinion!] as well as Please, Don't Ask Me, which later emerged as a re-recorded LITTLE RIVER BAND track on the 'Too Late To Load' album.
Being without a steady bass player for two years now, WAYNE NELSON was hired. GRAEHAM GOBLE observed him from the wings when he was still a member of the JIM MESSINA BAND, and thought he was perfect. Being an incredible bass player, as well as a very capable composer and singer, he perfectly fitted into the formation.
For their 1981 release 'Time Exposure' LITTLE RIVER BAND decided not to produce on their own or together with somebody else ... but they had this album produced entirely by former BEATLES producer GEORGE MARTIN! I seem to recollect reading in some musician's magazine how GRAEHAM GOBLE wasn't very happy with that decision, looking back at it. "We seldom saw him showing up in the studio while we were recording, so we never really felt being produced or looked after," GOBLE complained. But including the hits The Night Owls, Man On Your Mind and Take It Easy On Me the album was a complete success, most of all in the U.S. GOBLE, being a believer of numerology and clairvoyance, got into an argument with lead singer GLENN SHORROCK about one line of Man On Your Mind "... you can't change your life by changing your name ...". "Glenn knew that this was strictly against my belief," GOBLE moaned. It seems to me that at time there was some instability within the group and shortly after that SHORROCK left the band to pursue a solo career. Guitarist DAVID BRIGGS was also asked to leave the band ... as far as I remember reading somewhere, because of differing opinions about musical matters. At that time I had a strong feeling that GRAEHAM GOBLE took over the lead and formed a vision of where the band was supposed to go to.
LITTLE RIVER BAND closed this chapter and opened a new one with the very successful 'Greatest Hits' album containing two new songs Down On The Border and The Other Guy. JOHN FARNHAM was asked to become their new lead singer and shortly thereafter STEPHEN HOUSDEN was recruited for the lead guitar parts. The band sounded fresher than ever and therefore the 1983 release 'The Net' is quite different to any other of the earlier albums before. It was still LITTLE RIVER BAND, but GOBLE and BIRTLES had prepared them for a more modern touch, using a funky brass section and more danceable rhythms that have never been heard before on any LRB product. LITTLE RIVER BAND opened with the hot You're Driving Me Out Of My Mind and also including Down On The Border this new album saw the group with a new approach to what is called Soft Rock. But 'The Net' wasn't remotely as successful as the releases before and consequently the sales were a disappointment. I saw this lineup in 1984 in Berlin/Germany, and all I could say was: wow, what a band!
The 1983 line-up [clockwise from top left]: Stephen Housden,
Wayne Nelson, Graeham Goble, John Farnham, Derek Pellicci, Beeb Birtles.
At that stage founder members DEREK PELLICCI and BEEB BIRTLES left the group, both lacking satisfaction with the direction the band was going into. COLD CHISEL drummer STEVEN PRESTWICH came as a substitute for DEREK, but the efforts to regain the 70s successes yielded the 'Playing To Win' album in 1984. Produced by SPENCER PROFFER and introducing keyboarder DAVID HIRSCHFELDER as a steady member of the formation, 'Playing To Win' sounds almost like a TOTO album to me. Still, the songs were harmonic and a proof of quality, but the arrangements were completely different. Putting all factors together I guess GOBLE intended to push the band forward, FARNHAM had an extended range of vocal abilities, and STEPHEN HOUSDEN is - in my eyes - a real guitar maniac. Maybe all these points urged the group to change as they did with this release. I also found out that LRB'S first steady keyboard player, DAVID HIRSCHFELDER, must have had his effects, too. It is said that HIRSCH is a genius with musical arrangements and technical stuff, and thus he surely had his influences on this new LITTLE RIVER BAND sound also. But success failed and touring around the world with this new material didn't bring back the sales as the group had hoped for. The band was creating some of its most impressive, fully realized works, and hard- working FARNHAM, having found a comfortable niche, was rendering them with passion and precision. However, when a fiery version of the 1969 EASYBEATS classic St. Louis [recorded with one of their most loyal concert cities in mind] failed to connect and the second FARNHAM-era album was excessively ignored, it was apparent that the train was off the rails.
With the 1986 release 'No Reins', the band obviously tried to go back to the so-called original LITTLE RIVER BAND sound of the '70s. I still liked the songs and always did, especially the opener Face In The Crowd, but 'No Reins' was almost one of the best kept secrets in many countries. Still it's mostly available as a Japanese copy. To this day, GRAEHAM GOBLE insists that it is the finest LITTLE RIVER BAND long-player of them all; it's certainly hard to nominate a more impressive FARNHAM vocal performance than with When The War Is Over, an unexpected reworking of the shimmering COLD CHISEL ballad. The lack of success seemed to have spoiled the band members by that time, and thus JOHN FARNHAM left the band for a solo career. He explained: "It got to the stage where I had to admit that it wasn't working. The complete disinterest with which the last album was received was devastating. I gave 110 percent to them while I was there. I put myself under a lot of pressure because, rightly or wrongly, I felt a great responsibility. I was the one in the most light; people expected me a lot of me after I replaced Glenn Shorrock, and I expected a lot of myself. So I thought seriously about it and decided that if I was going to put myself under that sort of pressure, it might as well be for something which I was totally responsible."
When the EMI record-contract had run its course by the end of 1986, GRAEHAM GOBLE sat down with Australia's most important rock-historian GLENN A. BAKER to do a tape-search for an upcoming 'Anthology' album, but the work spawned the rarities collection 'Too Late To Load', which release made it obvious that there was no more LITTLE RIVER BAND at that time ... the band had ceased to exist. By the end of 1987 it was IRVING AZOFF, at that time president of MCA Records, who was the driving force in putting the band back together in its almost original line-up. He said: "Put the original singer upfront and we'll make hit records again!". GLENN, who - at that time - has done the excellent 'Villain Of The Piece' solo album as well as some collaboration work with various artists and was busy with TV and stage work, was in serious need of a return to the charts. Drummer DEREK PELLICCI, who had been away from the band for the last two albums, also returned.
The first release of JOHN FARNHAM in the post-LRB-era, 'Whispering Jack', immediately brought him the smash worldwide hit You're The Voice. The album scores DAVID HIRSCHFELDER as well as early LRB member ROGER McLACHLAN on bass. Ever since, FARNHAM has been successful as a solo artist around the world.
The first release of this new re-formed group in 1988, 'Monsoon' brought back a more original sound and the hit single Love Is A Bridge, composed by GRAEHAM GOBLE and STEHEN HOUSDEN. 'Monsoon' was the first LITTLE RIVER BAND album not published on their long-time label Capitol, but by the time of release, IRVING AZOFF no longer was the president of MCA, which was the reason the band did only receive little or no support by the record company. The album also contains a re-recorded version of Face In The Crowd, this time sung by GLENN SHORROCK. This song in its two versions is a very good example of the differing impact the two singers had to the group. The single, Love Is A Bridge became a success in the U.S. once again, but the sales still weren't comparable with those of the 70's.
For their 1990 album ,'Get Lucky' the group was now working with producer DENNIS LAMBERT, whoalready recorded with the THE TEMPTATIONS and so on .... For the first time the band decided to obviously urge a guaranteed hit and recorded If I Get Lucky, composed by MIKE CHAPMAN. CHAPMAN, Australia-born and one of the most successful composers of pop and rock songs in the 70s and 80s, wrote hit singles for bands such as SMOKIE, SWEET, SUZIE QUATRO, MUD, RACEY, PAT BENATAR, EXILE etc., to name just a few. But, If I Get Lucky failed success and the band didn't sound like the original. Although the compositions were much better than on the last releases, the whole album wasn't successful at all and a complete 'fall through'.
At that time the recording contract with MCA Records had ended, and with no options to record new songs, the disillusioned GRAEHAM GOBLE formed a new project, BROKEN VOICES, including STEPHEN HOUSDEN on lead guitars and SUZIE AHERN doing the lead vocals. Unfortunately, the world never saw a release of this formation until the label Thoughtscape Sounds released it in December 1997.
In 1991, and with the freshly recorded title song [for the first time introducing the new band members, GOBLE substitute and former PLAYER member PETER BECKETT as well as keyboarder and additional guitar player, TONY SCIUTO] MCA made an effort to compile the best songs from the 'Monsoon' and 'Get Lucky' CD's, releasing the final 'Worldwide Love' album. With this release the group started touring the world, playing their old hits and successes worldwide. BECKETT, who had co-written the hit Baby Come Back for PLAYER, sang this song with this lineup of LITTLE RIVER BAND on live concerts.
1993 saw the first release of THE GRAEHAM GOBLE ENCOUNTER called 'Nautilus'. Performed and produced by GRAEHAM, this album introduced STEVE WADE as the new lead singer of the band. The recording also included LRB drummer DEREK PELLICCI and guitarist STEPHEN HOUSDEN on selected tracks. 'Nautilus' also brought a new version of an old LITTLE RIVER BAND song, Full Circle from the 'Time Exposure' album, with a different arrangement. GRAEHAM stated about his time away from the group: "Over the three years since I left LRB I've built up a studio and have taught myself things like sequencing and programming, so I can make the sort of records I want to make, and which I think people are going to expect of me."
In the same year, GLENN SHORROCK undertook an enjoyable project with his long time AXIOM mate, BRIAN CADD. They recorded an album in BRIAN's home studio in Nashville, calling themselves and the album title 'BLAZING SALADS'. The album didn't receive any radio support, "... therefore has ended up alongside my solo album as a collectors item!" GLENN revealed.
Another 1993 solo effort from the LITTLE RIVER BAND circle came from solo guitarist STEPHEN HOUSDEN, who published his solo opus 'New World Groove'. The albums states STEPHEN'S preference in Celtic scales, pretty similar to what can be heard with BROKEN VOICES.
Two years later, in 1995, GRAEHAM GOBLE released his second solo album, 'Stop', this time simply using his own name. Appearances by STEVE WADE, DEREK PELLICCI, STEPEHN HOUSDEN and ROGER McLACHLAN make this record an interesting item for LRB fans as well. The new GRAEHAM GOBLE songs come with the typical polished sound and production.
The band, which was meanwhile managed by drummer DEREK PELLICCI, had an extensive tour schedule for 1996/97. GLENN SHORROCK, who had asked to tour only four months, was upset about this and left the group. So did bassist WAYNE NELSON, and both were replaced by STEVE WADE as the new lead vocalist, and Sydney-resident HAL TUPEA on bass. This formation performed another five-month U.S. tour, followed by resignations of PETER BECKETT - who decided to pursue a reformation of PLAYER - and TONY SCIUTO - who planned to setup his own band BANGING RUSH - and the only founding member left in the group, drummer DEREK PELLICCI.
Obviously nobody had honestly expected LITTLE RIVER BAND to survive the situation at the end of 1997, but long-time guitarist STEPHEN HOUSDEN persisted and reformed LRB into an entirely Australian-based formation, using original bassist ROGER MCLACHLAN, in addition to new members ADRIAN SCOTT on keyboards and vocals - who was an original member of AIR SUPPLY and musical director for KYLIE MINOGUE - guitarist and vocalist PAUL GILDEA - who was with ICEHOUSE as well as JAMES REYNNE, RICK PRICE etc. - and top session drummer KEVIN MURPHY, who also played with the likes of TINA ARENA and BEEB BIRTLES for his past-LRB demos. STEVE WADE continued to be the obvious choice for the lead vocals. With this line-up LITTLE RIVER BAND played its first gigs in New Zealand, followed by an extensive U.S. tour schedule from May to September that year.
Please, be sure to read the 1998 tour biography by clicking here!
by Glenn A. Baker
Known from the GRAEHAM GOBLE releases, next with
LITTLE RIVER BAND: lead vocalist STEVE WADE
By the end of 1998 two members said their goodbyes: keyboarder and vocalist ADRIAN SCOTT married and decided to leave the band too. But the shock was that ROGER McLACHLAN also left the group. Tour manager TERRY FINLEY about ROGER'S decision: "Many factors led to this decision, not the least of which was the extended time away from family in Melbourne." But at the same time the band was proud to announce the return of WAYNE NELSON, bassist and vocalist from 1982 to 1995 with LITTLE RIVER BAND. This formation was completed for the 1999 tour schedule by Melbourne-based GLENN REITHER on keyboards and saxophone. GLENN already played with KATE CEBRANO.
Meanwhile in the Nashville area BEEB BIRTLES gained fame as a well-known icon of professional songwriting and as an artist. He teamed up with keyboarder and producer BILL CUOMO, whom he had firstly met for the recordings of 'Time Exposure' back in 1981. BIRTLES had a long string of intriguing songs written, and it was decided to start recording his first solo album. By the end of 1997 the domain http://www.birtles.com/ was registered and became the first source of information about BEEB'S current activities and works. In preparing his solo release CUOMO and BIRTLES also founded their own record company, Sonic Sorbet. The recordings were eventually finished in mid 1999, and shortly thereafter 'Driven By Dreams' was released. LITTLE RIVER BAND fans instantly loved the album, as it reveals how much impact BEEB BIRTLES' songwriting, performing and singing had on the early sound of the group and its unique position on the market.
With the beginning of the new millenium STEVE WADE terminated his LITTLE RIVER BAND membership after three and a half years of touring and working with the band. But LRB obviously decided to not find a replacement as a new lead singer, but that the remaining band members take over the vocal lines. Also, PAUL GILDEA left and was substituted by GREG HIND on guitars. Since his admission he's also contributing to lead and background vocals. Between the touring seasons of 1999 and 2000 LITTLE RIVER BAND started recording their first album in ten years, 'Where We Started From', produced by WAYNE NELSON. It was recorded at Soundhouse Studios, Melbourne and contains nine brand new songs, all composed by members of the band, plus two remakes of oldies, Cool Change and The Night Owls. The CD is exclusively distributed on LITTLE RIVER BAND venues or online at Rockmart [that website doesn't operate anymore].
At the beginning of 2002 an exciting meeting occurred: BEEB BIRTLES - who read an interview held with GRAEHAM GOBLE [7/97] for 'lrb.net' - learned how GRAEHAM answered the question pertaining to the possibility of a reunion of the original LRB, and his position with BEEB. GRAEHAM responded "I would personally like to work with Beeb again. I have not seen him for many years and I would enjoy getting together again. Beeb was a very important part of Little River Band and any LRB line-up would benefit from his inclusion." When the meeting took place in Melbourne "... we spent about two days talking because so many personal things had happened. And the great thrill of course was as soon as we sang together, the whole phrasing and blend was just there automatically. It wasn't like we had to try and work to find anything, it was just all there," GOBLE said. The reconciliation between BIRTLES, SHORROCK and GOBLE triggered the plan to regroup as BIRTLES SHORROCK GOBLE, commencing rehearsals in early 2002 and performing for the first time at the Grand Prix Ball at the Crown Casino in Melbourne on March 1st. Since May 2002 BSG are continuously performing, eventually culminating in the release of a live CD as well as a DVD named 'Full Circle' of their performance at the Forum Theatre in Melbourne on July 18th and 19th, 2003.
Please, read the story 'Haaang on, BSG is on its way' by clicking here!
by Debbie Kruger
© 1998-2003 Composed by Fr@nkie,
with issue desks from GLENN A. BAKER.
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