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SPECTRUM

Crossover Prog • Australia


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Spectrum biography
The Melbourne-based SPECTRUM was a highly regarded Australian progressive psych rock band that came together in 1969 around its central figure, expatriate New Zealand guitarist/singer/songwriter, Mike Rudd.

Rudd came to Australia in 1966 with the New Zealand group, CHANTS R&B, then moved through two other bands - PARTY MACHINE and SONS OF THE VEGETAL MOTHER - before assembling SPECTRUM with bassist Bill Putt (ex GALLERY and THE LOST SOULS), organist Les Neale (ex NINETEEN 87) and Putt's former GALLERY band mate, Mark Kennedy on drums.

In its formative year SPECTRUM played covers of work by its contemporaries, such established psychedelic / progressive artists like PINK FLOYD, SOFT MACHINE and TRAFFIC before developing a style of its own. The SPECTRUM sound was formed around Neale's skilled Hammond organ playing - mostly without the use of a Leslie speaker cabinet - and Rudd's extraordinary finger-picking guitar style (a style he reportedly used to avoid being compared to the more accomplished guitarists of the time), his often humorous and offbeat song titles and lyrics, plus his unusual and distinctive voice. Add to these two the very skilled and reliable rhythm section of Putt and Kennedy and the SPECTRUM equation is complete.

As regulars at many of Melbourne's concert venues SPECTRUM honed its sound and developed a swag of original material. This material would eventually find its way onto the first SPECTRUM album, "Spectrum Part One". SPECTRUM's polished stage show used a lot of equipment, a huge PA system and had a full light show. The hefty equipment costs meant that a lot of concerts were needed to create some kind of effective income, and bookings were not always easy to come by as some promoters thought SPECTRUM's sound 'too progressive'. As SPECTRUM is struggling to make ends meet via the concert circuit, a significant change comes about in Australian law when a number of states amend the Age Of Majority from 21 to 18. This lowering of the legal age for alcohol consumption gave birth to the pub rock scene, forever changing the Australian live music circuit; pubs had cheap beer to offer to a sharply increased cliental base, and could hire bands to play live music in the rowdy pub atmosphere that leant itself to the rock 'n' roll sound. This new phenomenon was to the detriment of the larger concert events held in unlicensed venues. SPECTRUM (and other "head" groups) needed the larger concerts and an audience prepared to sit and...
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Buy SPECTRUM Music


Music of Phil CollinsMusic of Phil Collins
Intersound Records 1995
$3.49
$0.85 (used)
Highs Lows & Heavenly BlowsHighs Lows & Heavenly Blows
Music on Vinyl 2018
$19.59
$18.06 (used)
Forever AlienForever Alien
1972 2016
$13.66
$22.39 (used)
Live Chronicles 2Live Chronicles 2
Space Age 2016
$10.25
$13.73 (used)
Live Chronicles 1Live Chronicles 1
Space Age 2016
$11.11
$13.78 (used)
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LIONEL HAMPTON & His Big Orchestra, Spotlight On, DLP-157, 1962, Stereo Spectrum USD $8.00 [0 bids]
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La Mas Completa Coleccion(The Greatest Collection)-Sergio Mendes 2006 Spectrum 2 USD $3.50 [0 bids]
USD $5.00 Buy It Now
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Portobello Road Spectrum (60s) 7" vinyl single record UK RCA1619 RCA VICTOR USD $17.01 Buy It Now
R&B CLASSICS Various Artists 18 CLASSIC TRACKS NEW & SEALED CD (SPECTRUM) BLUES USD $11.81 Buy It Now
WILD AT HEART/DAVID LYNCH-ORIGINAL SOUNDTRACK-SPECTRUM-551-318-2-1990 USD $9.18 Buy It Now
Squeeze The Squeeze Story 2CD Boxset Spectrum/A&M Records 2008 5312152 USD $6.55 [0 bids]
101 STRINGS - FERDE GROFE Grand Canyon Suite - AUDIO SPECTRUM Reel to Reel tape USD $17.95 Buy It Now
Waterloo Abba German CD album (CDLP) 5500342 SPECTRUM 1993 USD $13.79 Buy It Now
Abba The Music Still Goes On German CD album (CDLP) 551109-2 SPECTRUM 1996 USD $13.79 Buy It Now
A Rare 1973 U.S. Atlantic release Billy Cobham Spectrum Gatefold LP Album SD7208 USD $21.36 Buy It Now
Me Myself I Joan Armatrading CD album (CDLP) UK 5500582 SPECTRUM 1993 USD $16.42 Buy It Now
Various Artists - Funk Spectrum (Real Funk for Real People, 1999) USD $6.57 [0 bids]
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Flying Burrito Brothers The Collection CD album (CDLP) UK 9820305 SPECTRUM USD $16.40 Buy It Now
The Collection by The Righteous Brothers (CD, Sep-2003, Spectrum Music (UK)) USD $9.26 Buy It Now
Jazz Spectrum Vol 2 Louis Armstrong Vinyl Original Oz Press 1975 USD $21.36 Buy It Now 2s
Spectrum (80s) A Pox On You UK CD single (CD5 / 5") ORBIT003CD USD $16.40 Buy It Now 3m 56s
Squeeze Up The Junction CD album (CDLP) UK 5442292 SPECTRUM USD $15.09 Buy It Now 4m 38s
FISHERFOLK * SPECTRUM * VINYL LP (1980) CELEBRATION CR 1029 + INSERT USD $12.41 Buy It Now 11m 1s
Scorpions Classic Bits CD album (CDLP) UK 586531-2 SPECTRUM/UNIVERSAL 2002 USD $13.12 Buy It Now 15m 25s
Peter Frampton Shows The Way CD album (CDLP) UK 550103-2 SPECTRUM 1998 USD $16.40 Buy It Now 15m 38s
Marty Wilde The Full Marty 3-CD album (Triple CD) UK SPECSIG2043 SPECTRUM 2010 USD $17.06 Buy It Now 26m 27s
Let Loose The Best Of CD album (CDLP) UK 5541802 SPECTRUM 1997 USD $22.98 Buy It Now 26m 34s
ARIEL Goodnight Fiona - 1976 Oz Prog-Rock (Australian) LP Spectrum, Murtceps USD $33.82 Buy It Now 36m 50s
Spectrum/variations On a Ninth... (Hargreaves) (UK IMPORT) CD NEW USD $14.80 Buy It Now 47m 52s
BILLIE JO SPEARS 20 Country Greats CD 20 Track (u4032) AUSTRALIA Spectrum 1988 USD $6.55 Buy It Now 48m 48s
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Spectrum : The Music of The Carpenters CD USD $5.99 Buy It Now 2h 6m
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Spectrum (6) - Air Red Rip EP (Vinyl) USD $16.40 Buy It Now 2h 34m
BBE - JOEY NEGRO AND SEAN P PRESENT THE BEST OF DISCO SPECTRUM [CD] USD $20.37 Buy It Now 2h 42m
CLYDE McCOY Golden Era of The Sugar Blues LP Spectrum/Design Records SDLP-28 VG USD $6.11 Buy It Now 3h 5m
JAZZ SPECTRUM Volume 5 - 12 Big Band Classics LP 1973 Verve Canada VG ELLINGTON USD $8.39 Buy It Now 3h 5m
JAZZ SPECTRUM LP Curcio I Giganti Del GJ-10 Don Byas/Coleman Hawkins/Stan Getz USD $6.08 Buy It Now 3h 7m
LISZT VISITS VIENNA/JOSEPH VILLA - LP (SPECTRUM 1979) Vintage New/Sealed USD $44.95 Buy It Now 3h 49m
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The Essential Collection by Wishbone Ash (CD, Mar-2013, 2 Discs, Spectrum Music USD $4.00 [0 bids]
4h 4m
Soul Spectrum, Vol. 1 by Various Artists (CD, 2012, Jazzman) USD $19.99 Buy It Now 4h 26m
Spectrum : Ghost And Other Great Movie Hits CD USD $4.23 Buy It Now 5h 12m
The Essential Bo Diddley by Bo Diddley (CD, Sep-2000, Universal/Spectrum) USD $15.38 Buy It Now 5h 15m
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Spectrum [Digipak] by Les DeMerle (CD, Sep-2011, Get On Down) Factory Sealed CD USD $11.50 Buy It Now 8h 5m
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SPECTRUM I'll Be Gone / Launching Place Part II RARE ORIG 1971 HARVEST PROG 45 USD $5.25 [0 bids]
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Kool & The Gang - The Collection - 18 tracks - 1997 - Spectrum 551 635 2 USD $1.97 [0 bids]
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Bananarama - Bunch Of Hits (CD, 1993, Spectrum Music (Germany)) USD $10.99 Buy It Now 8h 45m
STAN FISCHER--HI-FI HARMONICA OVER BROADWAY--STEREO-SPECTRUM [1959] USD $15.00 Buy It Now 8h 52m
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Various Artists - Merry Christmas [Spectrum 2001] (2001) USD $2.61 [0 bids]
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I Know you got Soul (Spectrum, 2013) (cd8341) USD $19.85 Buy It Now 10h 2m
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SPECTRUM discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SPECTRUM top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.20 | 18 ratings
Spectrum Part One
1971
3.80 | 25 ratings
Milesago
1971
2.31 | 4 ratings
Warts Up Your Nose
1973
3.19 | 7 ratings
Testimonial
1973

SPECTRUM Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.21 | 5 ratings
Terminal Buzz
1973

SPECTRUM Videos (DVD, Blu-ray, VHS etc)

SPECTRUM Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SPECTRUM Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.09 | 2 ratings
Breathing Space (EP)
2008
3.00 | 2 ratings
Breathing Space Too (EP)
2009
4.00 | 1 ratings
Breathing Space As Well
2011

SPECTRUM Reviews


Showing last 10 reviews only
 Milesago by SPECTRUM album cover Studio Album, 1971
3.80 | 25 ratings

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Milesago
Spectrum Crossover Prog

Review by Warthur
Prog Reviewer

3 stars A double album havering between sophisticated progressive music and bluesy psychedelic pop, Spectrum's Milesago isn't some sort of wildly avant-garde cutting-edge thing; it's more like the product of a band who've listened to the Beatles' last few albums an awful lot and decided to see where they could go by mashing up that sort of compositional approach with early 1970s soft rock and pop developments. From the opening of the album, the vocal harmonies in particular feel like they have a certain Beatles touch to them. The other majorly Beatles-y aspect of the album is that, like the White Album, it's a bit of a sprawling album which can be a little inconsistent and is a bit much to listen through all at once, though it's fun enough in its own way.
 Spectrum Part One by SPECTRUM album cover Studio Album, 1971
3.20 | 18 ratings

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Spectrum Part One
Spectrum Crossover Prog

Review by GruvanDahlman
Collaborator Heavy Prog Team

3 stars From way down under comes this amazing (at times) bunch. Their second album "Milesago" is a terrific piece of hammond drenched hard rock prog, spiced just a tad with psychedelia. This their first album is very much a prototype to that album. Heavy on the organ, british in some mellow kind of way but sprinkled a bit more with the psychedelic spices.

The opening "Make your stash" is quite a good track, as is "Fiddling fool". The first opens in an eerie way, before heading into a mellow piece. The same could be said for "Fiddling fool", though this piece is decidedly more psych.

"Super boy" is a great track. Yet again mellow, with beautiful organ. "Drifting" heads into some jazzy rock territory. Quite good. "Mumbles I wonder why" is my favorite track. It sounds naive in an endearing way and offers fantastic organ playing. The next one "Launching place part 2" is really alright aswell. They end it all with the Manfred Mann's Earth Band track "I'll be gone". The original track may be better but this one really is interesting.

Overall it is quite an arlight album. Well played, organic and endearing. I really like Spectrum and the sound they make. They hold a tone of their own, quite Australian in that je ne sais quoi kind of way. It is good but when push comes to a shove it is no more than that. I would recommend "Milesago" over this but still, it has loads of charm an ideas.

 Milesago by SPECTRUM album cover Studio Album, 1971
3.80 | 25 ratings

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Milesago
Spectrum Crossover Prog

Review by GruvanDahlman
Collaborator Heavy Prog Team

4 stars Australian prog is not overly reviewed on PA. At least that is my conception. It may be wrong but I might be right. It seems, however, that Spectrum is not one of the most listened to bands on this site. Apart from a very precious few ratings and even fewer written reviews there seems to be little attention given to these proggers from Oz.

I bought myself this album as a christmas present back in 2009. The deluxe Aztec edition, I might add. Now, I am not reviewing that edition, though I strongly advise you to get a hold of it if you can. This review regards the original album as it appeared upon release in 1971.

The first thing to say about this album is that it is very raw and dirty, as far as the production is concerned. It is very heavy in parts, in no small part due to the excellent organ and guitar, of which both are very distorted. This fact makes me really enjoy the album. The rawness, alongside the quite impressive musical vision, gives the album an edge. I could compare it to a more progressive Deep Purple, circa 1970 - 1971. Overall, the musical ability is great. The vocals are heartfelt and gritty and the instrumentation is very well performed.

The songs ranges from rock'n'roll (But that's alright) to ballads (Love's my bag), hard rock (What the world needs now) to soaring progressive rock (Milesago) and all epic prog (The sideways saga). It is a great and somewhat eclectic collection of songs, which despite seeming sort of schizoid at first really merges together nicely.

My favorite track on the album has to be "What the world needs now". The track is driven by this unbelievable organ, distorted and played with such emotion. It starts off with this noise, made by the organ, resembling the noise made by the great Jon Lord on "Lazy" (from Made in Japan). It takes off and becomes this really outstanding song. If you are into organ, this is really a track to check out, as is the entire album.

As with any prog from any country, australian prog has it's own flavor and so has Spectrum. It is like a twisted form of british prog and I cannot point my finger at what it is. I do think, however, that in Spectrum's case it is a question of great musical vision, coupled with a psychedelic-progressive will, all mixed with a dose of "to hell with it all" and a sense of humour. It stands on it's own, majestically so. All in all, this album needs to be discovered by more people.

 Terminal Buzz by SPECTRUM album cover Live, 1973
3.21 | 5 ratings

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Terminal Buzz
Spectrum Crossover Prog

Review by sl75

3 stars This live album captures for posterity the final concert of Spectrum & Indelible Murtceps, before Ray Arnott joined Mighty Kong (Australia's own post-prog supergroup a la Asia, except ten years earlier...we were ahead of the curve for once), and the rest of the band regrouped as Ariel.

The first disc features the Indelible Murtceps version of the band - ie upbeat, simple rocking songs with mostly scatalogical lyrics, featuring electric piano instead of organ. They were in a jamming mood that night, three of the four tracks stretch well past ten minutes, but not in a way that would greatly interest prog fans - they kept the groove and kept things simple.

The second disc focuses more on Spectrum material - the difference by now meaning Hammond organ, ponderous slow tempi, and rather anarchic playing compared to their much tighter Murtceps material. In the studio, relatively new keyboardist John Mills had begun to use synthesizers and other keyboards, broadening the Spectrum sound palette, but here on stage he restricts himself to organ - "Essay In Paranoia" suffers from the absence of the synth. He is a much more technically advanced and melodically inventive player than was Lee Neale, I enjoyed listening to the detail of his playing on the older numbers, however he lacks the 'fiery' sound of Neale. "Essay In Paranoia" stays relatively faithful to the studio arrangement, while "Superbody" goes off on a completely different tangent, and "What The World Needs" is also distinguished from it's studio version by Mills more structured playing.

The first new piece, "Crazy Song" begins promisingly, with an unusually (for Spectrum) chromatic theme that made me think of Gentle Giant or Syrius, and finishes equally strongly with a fast running figure, but in the meantime we get an awful lot of atonal noodling. It segues into a simple four-chord jam "Goodbye". From here they segue again into the inevitable "I'll Be Gone" before encoring with another new number "i Want To Know', which returns to Murtceps territory.

Although there is some good music here - this is certainly an album any Spectrum fan will want to own - one would have to conclude that they'd made the right decision to break up at this time. The album shows clearly the disconnect between the Spectrum and Murtceps personae, and the declining level of inspiration on the Spectrum side of the equation. The first Ariel album featured a much rejuvenated group of musicians, finally capable of reconciling their two musical personalities into something exciting and new.

 Spectrum Part One by SPECTRUM album cover Studio Album, 1971
3.20 | 18 ratings

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Spectrum Part One
Spectrum Crossover Prog

Review by BORA

2 stars The band hails from my adopted country, Australia, where Prog was never "abundant". I may have heard this LP a long time ago. If so, then it didn't leave a lasting impression on me - for I can't recall. Recently, I was given the chance to hear it (again?)

Firstly, I feel terribly sorry for these well-meaning musos attempting to deliver some rather original material. Their difficult task in creating what resembles prehistoric Psychedelic material wasn't assisted by the recording process. Apart from that the material sounds like just a collection of demos, the mix is just horrible - and that's before we get to the artwork.

I was a bit taken aback by the vocals that don't sound anything I could compare with. Original would be the least I could say. More like indulgently experimental that compromises the entire works. A stroke of genius, or substance abuse - I couldn't possibly say, but it fails to impress.

The sound of the Hammond brightens things a bit, but apart from a few little runs on it, it's the actual rich sound of the organ that pleases - in place of the keys played. The bass player is definitely trying his best, but is left excessively loud in the mix thus, the somewhat amateurish delivery is further exposed.

The whole "album" tends to be devoid of any bulk, just repeatedly falling apart, due to indulgent gaps and a serious lack of arrangements. With some professional editing and mix this could be a 3 star work, but as it is I couldn't possibly call it good.

 Breathing Space Too (EP) by SPECTRUM album cover Singles/EPs/Fan Club/Promo, 2009
3.00 | 2 ratings

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Breathing Space Too (EP)
Spectrum Crossover Prog

Review by sl75

3 stars It's the same band that recorded the first Breathing Space EP, and continues to sound very little like the original Spectrum.

Having said that, Rudd's songwriting is much stronger on this second release. His humourous side comes out on "Xavier Rudd Is Not My Son" (in case you're wondering, neither is Kevin his brother) and "Sensible Shoes" (a sequel to "What The World Needs Is A New Pair Of Socks"?), while "Hotels, Motels" is a poignant tribute to the struggles of his generation as they move beyond middle age.

Still not remotely a prog record, still not near the quality of Part One or Milesago, but as it's a step up from the first Breathing Space I think it deserves a higher rating.

 Breathing Space (EP) by SPECTRUM album cover Singles/EPs/Fan Club/Promo, 2008
2.09 | 2 ratings

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Breathing Space (EP)
Spectrum Crossover Prog

Review by sl75

2 stars Why has the name Spectrum been resurrected for a band that bears so little relationship to the original band? Yes, Mike Rudd and Bill Putt are both involved - but Rudd and Putt have never stopped working together, moving straight from Spectrum to Ariel, and then to a succession of later bands including Instant Replay, The Heaters and WHY, on solo and duo projects, before finally deciding to take the Spectrum name for a project that has no more relationship to the original than any of these other bands. When Ray Arnott left Spectrum in 1973, that was considered to be sufficient reason to break up the band, even though the rest of the lineup and the musical direction remained intact into the first incarnation of Ariel. The new Spectrum does not have Arnott, or any other early member, nor does it sound much like the original band. So why? Other than maybe it's easier to get people to gigs, or to buy new records, when the Spectrum name is involved? That's the only reason I can think of.

Spectrum have actually been back on the live circuit for over a decade, and have previously released two CDs under the moniker Spectrum Plays The Blues. This initial 'reunion' was a three piece, with no keyboardist (something else I don't understand, when Lee Neale's organ was the most distinctive feature of the original band's sound). By the time they got around to recording the Breathing Space series, they had a keyboard player, but in contrast to the 'fiery' style of Neale or the multi-keyboard layering of John Mills, this guy is so self-effacing you barely notice he's there. The writing is low-key adult-oriented rock. The only time it starts to sound at all like the old Spectrum is on "Second Coming", during an instrumental break where the organ briefly cranks up (albeit with little more than some held chords) while Rudd plays the kind of hypnotic more-with-less guitar solo he was famous for.

It is good to see Rudd's humour is intact - in the song "I Play My Guitar" he notes "you say I play my guitar like I make love to you". Considering how famously self-deprecating he is about his guitar skills, this is pretty funny - especially since he gets former Ariel colleague Tim Gaze to play the solo! (And fine playing too)

The EP is not without its charms - but if you're looking for the Spectrum of the 1970s, you'll be disappointed.

 Testimonial by SPECTRUM album cover Studio Album, 1973
3.19 | 7 ratings

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Testimonial
Spectrum Crossover Prog

Review by sl75

3 stars Although there was an attempt to keep the Spectrum and Indelible Murtceps personae separate, there was inevitably some confusion between the two bands, and so the next album was jointly credited to both entities. There was an attempt to keep a demarcation between the two though, each track being assigned to one name or the other, with clear instrumentation and genre differences. Instead of this diversity being a strength, as it was on Milesago, it becomes jarring. The Murtceps numbers are generally straight-forward boogie numbers (with apparently an ear to the success of Daddy Cool - the guitar riff in "Indelible Shuffle" is very reminiscent of their "Hi Honey Ho"), with keyboards restricted to piano. The Spectrum numbers are ponderous mid-tempo numbers with a fuller range of keyboard sounds (courtesy new member John Mills), including the first use of synthesizers, but little of the fire we used to get from Lee Neale - or from anyone else in the band. The best number on the album is the one Murtceps number to break the genre straightjacket imposed on each identity, "Real Meanie". The best of the Spectrum numbers are "I Think I Even Missed The Station" and Ray Arnott's grooving "It Would Be Nice". "Essay In Paranoia", apparently a stage favourite at the time, is the most overtly proggy in it's multiple sections and use of synthesizer.
 Warts Up Your Nose by SPECTRUM album cover Studio Album, 1973
2.31 | 4 ratings

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Warts Up Your Nose
Spectrum Crossover Prog

Review by sl75

2 stars Despite a national #1 single in "I'll Be Gone" and two gold albums, Spectrum were near broke - the Australian market wasn't large enough to provide a large royalty income, and they couldn't get many gigs outside the small inner city circuit because their music was too complex - even a massive hit single couldn't get you gigs at the suburban dances that were still the mainstay of musical life in Australia. Spectrum were not the only band to adapt to circumstance by playing simpler, more commercial material at suburban gigs. However, they hit on an ingenious solution which allowed them to do so without compromising the credibility of the Spectrum name - they adopted an alter ego, the Indelible Murtceps (spectrum spelt backwards, geddit?) who would play the suburban dances, with less equipment, while reserving the Spectrum name for their more ambitious material. Murtceps developed somewhat of a following in their own right, which led to recording under that name. They had a minor hit with the double-sided single "We Are Indelible"/"Esmeralda" - the first song celebrating that "now we are sellable", while the other was a tribute to a hard-working prostitute. The album Warts Up Your Nose followed, and was a sign that band really weren't taking this too seriously. Most of Mike Rudd's songs are credited to "My Crudd", and, as the name suggests, most of them are throwaway songs concerned with scatalogical themes - "Blue Movies Make Me Cry", "In The Bog", "Excuse Me Just One Moment" (which captures the drinking culture of the gigs they were playing), "Hand Jive", etc. It's fun, but it's of no interest to prog fans. There are no organ solos, no atmospheric instrumentals (although there is a long jam in the middle of "Some Good Advice"), no multi-part suites - very little of what made Spectrum interesting in the first place.
 Milesago by SPECTRUM album cover Studio Album, 1971
3.80 | 25 ratings

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Milesago
Spectrum Crossover Prog

Review by sl75

5 stars By the time Milesago was recorded, Spectrum had already established their 'commercial' alter ego Indelible Murtceps, for which Mike Rudd was obliged to write simpler, more coherent songs. This sharpened his skills, and resulted in a much better material for Spectrum's second album. The first album was characterised by comparatively flimsy one-verse songs which then became the launching point for extended instrumental jams - if you preferred that side of Spectrum, it's still present in tracks such as "Love's My Bag", "Your Friend And Mine", "What The World Needs (Is A New Pair of Socks)", and "Fly Without It's Wings". But we also get some well-written short-snappy songs ("But That's Alright", "Untitled", "Virgin's Tale", "Tell Me Why", "Don't Bother Coming Round), some more structured long pieces ("The Sideways Saga", "Milesago"), and some psychedelic numbers that rely on more than one verse and a long organ solo ("Play A Song That I Know", "A Fate Worse Than Death", "Trust Me" - written and sung by new drummer Ray Arnott). Best of all, we get our first great glimpses of Rudd's sick sense of humour ("What The World Needs", "Virgin's Tale", "A Fate Worse Than Death", "The Sideways Saga", "Mama Did Jesus Where Makeup?"). Lee Neale uses a more diverse range of keyboard sounds, relying less on his 'fiery' organ (although it's still just as 'fiery' when it does make an appearance), and using more electric piano, with occasional harpsichord, clavinet and piano. In general, the more diverse sounds and songwriting approaches make this a much stronger record than the debut, one that is justly considered to be a high point of the early 1970s Australian underground/progressive rock scene.

The Aztec re-release includes several bonus tracks, including the single versions of "Trust Me" and "But That's Alright", b-side "Going Home" (somewhat of a sequel to "I'll Be Gone"), the rare soundtrack recording "Dalmas" (more in the style of the first album), a couple of live tracks from the Sunbury Festival of 1972, and a cigarette commercial! I'm glad to have these tracks, but unhappy they interfere with the original sequence of the four sides of vinyl.

Thanks to t.rox for the artist addition.

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