GLENN A BAKER’s CONTRIBUTION to BEEN AWAY TOO LONG’s CD BOOKLET
"For all its plucky raw energy and undeniable charm, what we heard in the 50s and 60s in Australia, from our own, came from somewhere else - from the top half of the world. It was diligently reworked and refashioned and if we were very lucky it was imbued with something unique, something truly worthwhile that gave it its own dimension.
We were always lucky with Max Merritt. This Kiwi wonder introduced me, and so many others whose eager ears were opening in those frantic days, to the seductive soar of soul. He had grit, passion, flair and an extraordinary level of professionalism. He seemed to have known or lived the soul scenarios he sang about. He was the man among the boys, in more ways than one. Simply, he was the real deal ...... and always has been.
Max had a fine, gravelly voice that led credibility to everything he sang and when he and his Meteors – one of many sets of like-minded musicians - crossed the Tasman at the end of 1964 and began dishing out R&B, Rock’n’Roll, Merseybeat, Surfpop and an unrelenting dance beat, the dance floors filled. By 1965 they were touring nationally with the Rolling Stones and Searchers and cutting a run of fiery singles for EMI – Shake, I Can’t Help Myself and Fannie Mae – all precious pieces of vinyl.
From 1965 to 1967 Max Merritt & the Meteors were absolutely the live band on the eastern seaboard, the ultimate discotheque kings. Entranced fans would follow them from gig to gig, hooked on Max’ peerless funk. Max had refined his passion for soul music after being turned on, by saxman Jimmy Sloggett, to Otis Redding’s Dictionary of Soul album, particularly the track Try A Little Tenderness. It was the sound and style he’d been looking for - his niche. It was such a sensation that there seemed to be only one place for it – anywhere in the top half of the world.
They were part of the pop scene of the day, even competing in Hoadley’s National Battle of the Sounds – the frenetic, hotly contested ‘pop’ competition that enabled bands to get tickets to the top half of the world. Though pitching themselves there to screaming hordes, Max and his men offered themselves as nothing more than the soul merchants they were - with Max close-cropped in a world of hirsute rockers, surrounded by a portly, white-bearded elderly jazz drummer, a bassist described as having the appearance of a rough long-haired version of Rolf Harris and a beatnik brass man. You could only love them for their sound - and at venues like the Whisky Au Go Go in Sydney, frequented by Vietnam soldiers on Rest & Recreation leave, that’s all that mattered. They were red hot, incandescent even, and young players sat at their feet to learn how it was done.
After clawing their way back from an appalling car accident, which left Max with just one eye, the outfit recorded what is rightfully hailed as the first truly great Australian rock album – a classy package of brassy, bluesy soul. The bristling excellence of 1969’s Max Merritt & the Meteors album on RCA and the national hit Hey, Western Union Man, delivered on all the promise that had been there throughout the decade. Recently reissued, it is still to be marvelled at.
Just as we marvel at the tenacity that saw the Meteors move base to England, almost five years after their original intention, and essentially start all over again, playing to homesick antipodeans in a Willesden pub, opening for Slade and the Moody Blues, and eventually generating such a groundswell that they became the first signing to the British arm of Arista Records, personally recruited by Clive Davis, the man who’d signed Joplin, Santana, Springsteen and Aerosmith.
Though we antipodeans welcomed Max home warmly when he came back to co-headline Sunbury Festival (our Isle of Wight) with Billy Thorpe and the Aztecs, he did slip from sight for a few years. Most down under were unaware of how the Meteors who had made the trek over had fallen away from the side of their leader (well, except the loyal Stewie Speer, who kept perfect time with the tiniest of kits), how Max had gone back to his old trade of bricklaying for a time to make ends meet, and how he’d painstakingly put together a new, more polished outfit.
But they did know that, over Christmas 1975, the Australian airwaves belonged to an impeccable, heartfelt rock ballad that implanted itself in listeners’ hearts and memories for life – Slipping Away. And they knew about the string of hits that followed - Let It Slide, Coming Back, Whisper In My Ear and Dirty Work. He came home in triumph for a sell-out tour in 1976. I was a young artist manager at the time, with a pop sensation on the charts, and I was in awe of him.
Max has come and gone over the years, but he has always been a part of us, his name synonymous in this part of the world with passionately performed roots music. We’ve seen him with Ray Charles, Wilson Pickett and James Brown, we’ve seen him at Byron Bay Blues Festival, at the Crown Casinos, in pubs and clubs. Setting stadiums alight on the national Long Way To The Top concert tour. There hasn’t had to be current hits, there’s just had to be Max.
But before radio opened up and let him in, before London and Arista there was this. Max Merritt & the Meteors at the end of sixties were held in such exceptionally high regard as a live act and as musicians' musicians that the uncovering of a complete performance from that time is certainly cause for considerable celebration. As I may have already pointed out, in a 'pop scene' environment dominated by radio-pleasing bubblegum outfits, the Meteors shone incandescently with ambitious music of deft maturity.
For those who didn't get to hear it rolling off a stage back then, this is an opportunity to find out what the fuss was all about; just why their jazzish soul-rock fusion turned audiences on so powerfully. The gruff vocals, the tight playing, the ferocious funk all contributed to something we'd never really heard in this country before. All those nights entertaining American soldiers on R&R paid off admirably, enabling them to stand well apart from the bunches of pretty young lads and their winsome glances. This could spin heads...and did.
We all love lost recordings, uncovered moments, Basement Tapes and the like but they become particularly tasty when they give us repertoire otherwise unavailable, when they place us at a performance where the players are sailing and soaring. Here, stretching out and blowing hard, Max and his lads give an insight into their imposing musical imagination and literacy; their soul shades and jazz lines. As players, as performers they knew their chops, which is hardly surprising given that Max had formed his first bands at age 15 and had been a recording artist for almost a dozen years, debuting with Get A Haircut in 1958.
This wasn’t captured with a multi-track desk or an array of carefully positioned mics. It wasn’t consciously put down as a live album (there wouldn’t be one of those until 1977). It sounds like what it is, it sounds like its time. But I have a strong suspicion that like me, you are less concerned with audio fidelity than with the opportunity to sit in on a gig by an outfit beloved for the nights when, in so many ways, the planets aligned.
GLENN A. BAKER, Sydney, April 2012
What folks are saying about “Been Away Too Long”!
Glenn A. Baker, Music Writer/Researcher/Rock Brain of the Universe: NSW
"Uncovering a complete performance from that time is certainly cause for celebration."
"Max Merritt & the Meteors at the end of sixties were held in such exceptionally high regard...”
"For those who didn't get to hear it back then, this is an opportunity to find out what the fuss was all about."
Dave Laing, Musician and Lifelong Fan: Victoria
“...the playing is about as good as it gets, Max really was a great player in those days.”
“Dave Russell's (bass) playing is inspirational, given that he made his name as a guitarist...!!”
“Brian, you are to be commended for seeing this through, it is a remarkable bit of Australian Music history!”
John Durr, Manager, Black Market Music: Victoria
“Have checked out the Youtube etc - sounds bloody good.”
Album Preview Review by sillycat, Amazon Free MP3 Surfer *****
“I am constantly downloading Amazon free mp3s. You never know what you'll get. This was a gem. I recommend it highly.”
The dance club scene in Melbourne in 1969 was at its peak. Iconic venues such as Berties, Sebastian’s and Thumpin’ Tum thrived. Hard working bands like Max Merritt & The Meteors would often play multiple venues in one night. Spectra, in Melbourne’s southeast suburbs, was a biweekly dance created and promoted by teacher Martin Cook, that catered to high school age youth. The venue rotated between Waverley and Ashwood high schools. It was not uncommon for three or four bands to appear each night at Spectra. In addition to Max Merritt & The Meteors, top bands like Billy Thorpe & The Aztecs, The Zoot & The Master’s Apprentices performed regularly before audiences upwards of 1,000.
“Been Away Too Long” is from one of those nights late in 1969 at Ashwood High. The master tape was in storage for 42 years, and I thought it was about time that all Max Merritt & The Meteors fans had the opportunity to enjoy this great performance. The band’s great energy and superb execution will bring back a flood of memories for anyone who saw Max Merritt & The Meteors in the late 60s and early 70s. For all the new fans of the band, I hope you get a feel for the classic “live” Max Merritt & The Meteors. It didn’t get much better than this. - Brian Lewis, Producer, LosTraxx Records
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Max Merritt - Lead Vocals & Guitar | 
Bob Bertles - Saxophone, Flute & Vocals | 
Dave Russell - Bass | 
Stewie Speer - Drums
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Producer: Brian Lewis; Recording Engineer: David Lewis; Digital Remaster: Greg Youngman Music
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Special Thanks to: Max Merritt, Bob Bertles, Dave Russell, Wal Bishop, Peter Williams, Peter Evans, Tim Dunn, Mike Rudd, John Durr, Glenn A. Baker, John Shand, Bonnie Redgrave-Lewis, Jo Tampas, Lloyd Mitchell, Gary Mitchell, Colin Smith, Frank Hill, Play MPE, Tunecore, Limelight, Press Play Music, Replicat, Amazon.com, US Digital Media, Courtesy of Sony Music Entertainment (Australia). Biography Photos © David PorterReturn to Top
Patricia Kerr, March 19, 2012
I remember going to Spectra in the 70's early with my sister. Have lots of fond memories of Sat. nights at Waverley High. I especially remember one night we were sitting on edge of stage while Thorpie set up. He came over and had a bit of a go, and my sister, who had really long hair, suggested he needed the ribbon tying back her hair more than she did. lol (Cheeky - Ed.)
Ella O’Callaghan, March 19, 2012
I have a vague memory of going to Spectra at Waverley in 1967 to see Buddy England (as a solo artist). (He later joined the The Mixtures in 1969 to 1970, and in 1973 joined the Seekers - Ed.)
Max Merritt & The Meteors "Been Away Too Long" producer Brian Lewis explains, “The latest release from one of Australia and New Zealand’s greatest bands is not a compilation, nor a reissue. It is a rare event in the music industry. It is a new album of a live performance, recorded in Melbourne in late 1969, that has not previously been released. Only a handful of people even knew the recording existed until recently." (You'll have to read The Official Back Story to get all the details.)
This recording has not been mixed down or changed in any way. What you hear is exactly how the audience heard the band that night in late 1969, captured via multiple microphones and a reel-to-reel tape recorder. Every instrument is clear and naturally balanced. Superbly recorded, amazingly well preserved, and expertly digitally remastered, "Been Away Too Long" is NOT your father’s bootleg!
The CD starts with two great numbers written by Max, followed by five proven crowd pleasers, and the band rounds out the set with a brilliant nine minute tribute medley to Otis Redding.
There are so many numbers* the band never recorded elsewhere for an album, even life-long fans will be listening to plenty of “fresh” material.
1. I've Been Away Too Long 2:56 (Merritt)
2. I'm So Happy* 3:25 (Merritt)
3. Gonna Send You Back To Your Moma* 2:23
4. Kush* 9:55
5. Louisiana Ana 3:47
6. Western Union Man 4:34
7. The House Will Rock* 5:10
8. Otis Redding Medley* 9:47
You've Got Me Hummin'
Fa, Fa, Fa, Fa, Fa (Sad Song)
Try a Little Tenderness
Satisfaction
Lewis continues, "Max Merritt is one of Australia and New Zealand's most important and influential pioneering Rock & Roll, R&B and Soul artists, and has been tirelessly pleasing audiences for over 50 years. In 1969 and 1970, the band was at the top of their game and widely acknowledged as one of the most popular live acts on the Australian music scene. The album showcases some of the very best the Meteors had to offer. This particular band lineup produced a unique sound, a cross pollination of rock, jazz, soul and blues as Max puts it. "Been Away Too Long" has the unique ambience of a live performance that can never be matched by studio sessions. The sound quality is outstanding."
Lewis adds, "The release includes a terrific drum solo by the late Stewie Speer in Kush. We brought it to Glenn A. Baker’s attention, and he believes it is Stewie’s only known recorded drum solo. Stewie was one of Australia's all-time great drummers. It is rumored that on more than one occasion, Rolling Stones' drummer Charlie Watts was seen paying close attention to Stewie's technique when the band performed in London in the 70s."
Bob Bertles, one of Australia's top jazz musicians and longtime Meteor sax and flute player (1967-1974) provides a memorable performance on the album including a number of solos. Dave Russell, guitarist and music producer, and Meteor bass player (1969-1973) performs superbly on the album, like he had been with Max for years, and not just the few months since signing on when the recording was made. The quartet's power and flawless execution makes for a great listening experience.
Although recorded half a lifetime ago in the 20th century, "Been Away Too Long" will be a true 21st century release. Lewis says, "Beginning today, fans anywhere in the world will be able to sample and purchase the album, individual tracks and streams from these digital music websites - iTunes, Press Play Music, LosTraxx Records, Amazon MP3, MySpace Music, Spotify, Rhapsody/Napster, eMusic, Zune, Nokia, iHeartRadio, VerveLife and Nimbit. Fans can find links to digital and physical retailers around the world at LosTraxx Records, or search their favorite retailer for "Max Merritt Been Away Too Long".
"Press Play Music has been appointed our exclusive antipodean CD distributor. Beginning today, fans everywhere (except the U.S, Canada & Mexico) can get a great CD pre-order deal directly from Press Play Music, and fans can pre-order from their favorite online or "bricks & mortar" record store. U.S, Canadian & Mexican fans can order directly from LosTraxx Records and take advantage of the great CD pre-order deal. Once the CD is released, planned for April 30th, 2012, fans everywhere in the world can also order a CD directly form Amazon.com." (Sorry, Amazon does not do CD pre-orders.) You can also listen to the album on Jango Internet Radio.
He concludes, "On a personal note, to be associated with a legendary band like Max Merritt and The Meteors is a real privilege. Without a doubt, everyone involved in this project demonstrated to me they are generous, understanding and dedicated music professionals.
"My ultimate hope is that fans will make this album a big retro hit, as a way to thank Max, and continue to pay him back for the 50+ years of good times he has given us all!"
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Lewis was born and raised in Melbourne and moved to the U.S in 1981.
For information: Contact Brian Lewis (Aus EST + 7hrs) at +1-816-651-4299 or email brian@lostraxx.com
To preview and buy the album:
In Australia & NZ, and Globally (except U.S, Canada & Mexico), go to Press Play Music.
In the U.S, Canada & Mexico, go to LosTraxx Records.
If all else fails, on the CD release date, you can find the CD at Amazon.com.
Anywhere in the world you can listen to the album on Jango Internet Radio
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"The Highly Unlikely Result of a Life-Long Fan with a Really Crazy Idea"
by Brian Lewis, Producer, LosTraxx Records
This is the story of how a recording by a couple of teenagers in 1969 found its way into a 2012 release for one of Australasia’s most famous bands.
Back in 1969, Max Merritt and The Meteors, like many other top tier bands, used to play regularly at a Saturday night dance in the S.E. Melbourne suburbs called Spectra. It ran biweekly and alternated between Waverley and Ashwood high schools, and would draw about 1,000 teenagers.
My older brother David, and some mates and I, volunteered as stage crew to help the roadies setup and breakdown, as there were often 3 or 4 bands that played each night. Between sets we got to listen from anywhere in the hall, including backstage, and we didn’t have to pay to get in either. Life for teenage boys in Melbourne didn’t get much better than that in those days.
One dance night late in 1969, after we cleared it with Martin Cook, the promoter, we rigged a set of four mics - three overhead and one for the PA - and fed them into the hall’s mixing board, and then fed the mix into a mate’s reel-to-reel tape recorder. The hope was to get permission to record the bands so we would end up with a recording or two for our own enjoyment. So after my brother got face-to-face permission from Max, we rolled the tape and captured the set. Shortly after we made the recording, we had a one-off LP cut from the tape, and I have had that LP since it was made. I digitized it a few years back so I could listen to it on iTunes without tearing up the LP. As far as I knew, it was the only remaining copy of the recording we had made.
I credit my ex-wife Bonnie with the idea of releasing the Merritt recording. Her suggestion prompted me to contact my old friend Lloyd in England, who had some hands-on experience in the music business. He advised us we had great content that would make a good release, if we could find the master tape and get it digitally remastered. To me, that was a very big “IF”.
As it happened, my brother kept the master tape stored away all those years, and recently having found it, we had it digitally remastered, and that was really what kicked off the project. The quality was so good it was a no-brainer.
Between recording the set and having the tape digitally remastered, it became apparent to me that we had captured something special. As a fan, it had always bothered me that other fans didn’t have the opportunity to listen to this live set, so now I had to make sure that happened. I became a man with a mission.
As a complete outsider to the music industry, I had to put in a lot of research before I could present a plausible plan to Max and his manager. Lucky for me I am a quick study, plus my enthusiasm, and an amazing amount of support from music industry, made up for my lack of prior music industry knowledge and experience.
After I contacted Max and sent him a remastered sample for his approval, everything fell into place. If it wasn’t for my angel investor Jo, the internet tools for Indie labels - mechanical licensing by Limelight, global distribution of digital and physical music through companies like Tunecore and Amazon, economical high-tech promotional tools like Play MPE - and getting help from complete music industry strangers, whose only interest was in getting the music out to the fans, the project would never have got off the ground.
The most gratifying aspect of the project for me, from the graciousness of Max on down, there was not a single person I contacted in the course of the project that did not go out of their way to support what I was trying to do. They patiently heard me out, and helped turn my ideas into a project, and ultimately a release. I was humbled by the experience, and I am also very thankful to every one of them. I could not have done it without them. Personally, I am also extremely proud that I was able to finally get this music into the hands of Max Merritt and The Meteors fans around the world. A little late in coming maybe, but better late than never as they say!
"My ultimate hope is that fans will make this album a big retro hit, as a way to thank Max, and continue to pay him back for the 50+ years of good times he has given us all.”
For more information about this release contact:
Brian Lewis (U.S Central Time Zone 24/7)
816-651-4299 or email brian@lostraxx.com
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Band Mini-Biographies
Max has been on the Australasian music scene for over 50 years. Max is renown as THE original local interpreter of soul and R&B. He rose to prominence in New Zealand from 1958 and relocated to Australia in December 1964. Max's band was acknowledged as one of the best local performers of the 60s and 70s, and his influence did much to popularize soul, R&B and rock music in Australia and New Zealand. When Max applied his unique musical influences to a live performance, the results were nothing less than amazing!
Max has engendered respect and affection over generations of performers which was evident at the 2007 Concert for Max, to provide financial support after it was announced he had Goodpasture’s syndrome, a rare autoimmune disease. The Australian Recording Industry Association recognized Max’s iconic status on July 1st, 2008 when he was inducted into their Hall of Fame. (Edited from Wikipedia/Max Merritt)
A self taught musician, Bob’s music career began in 1956. He was a member of the developing modern jazz scene that grew out of venues like the Mocambo in Newtown and the El Rocco Jazz Cellar in Kings Cross. Active in clubs, on TV, as a session musician and on the pop-rock scene, he toured with Johnny O’Keefe & The Dee Jays from 1958-1963. Bob also led a quartet with Keith Barr, Brian Fagen & Barry Woods, which played at Melbourne’s renown Fat Black Pussycat in Toorak.
Bob was with The Meteors from 1967 till 1974. While in London in the 70s he played sessions for Cliff Richard, Cilla Black and Alan Price. Bob joined Ian Carr’s Nucleus in 1974. Today he heads up The Bob Bertle’s Quintet. When not touring, Bob presents a regular program on Sydney jazz station Eastside Radio. (Edited from Wikipedia/Bob Bertles)
Dave met Max in 1959 when he sat in for a missing Meteors guitarist at the Christchurch Teenage Club, Dave was a Ray Columbus & The Invaders member at the time. In a chance phone call ten years later, Dave was looking for work, Max needed a bass player, so Dave signed up. During his time with the band (1969 - 1973), they toured the UK with Slade, The Moody Blues, and The Doors, appeared at major festivals, and played at top London venues. Dave returned to New Zealand in 1973 when Max put the band on hold.
Dave formed the Wrangler Roadshow band in early 1974 and toured till year’s end. In 1975 he was hired to manage Split Enz’ Australian tour, and he also produced the band’s award wining debut album, ‘Mental Notes’. Recently retired, with his music career behind him and looking forward to a quiet country life, Dave still plays guitar everyday and is actively involved in recording. (Edited from Milesago.com/Max Merritt & The Meteors)
Stewie was one of Australia’s top jazz and rock drummers, and like Bob, played the traditional jazz scene. His love of bebop eventually led Stewie to join the Meteors in 1967. After taking the Australian music scene by storm in 1969, the band moved to the UK in 1970. They returned numerous times to Australia in the early 70s for very successful concert tours. Max broke up The Meteors in 1978, retaining only Stewie.
In late 1980, Max toured Australia with a band that included Stewie. This was Max and Stewie’s last major tour together. Stewie returned to live in Sydney in 1980, and he remained active on the local music scene, although health problems affected him increasingly during his last years. He died of a heart attack in Sydney on 16 September 1986, aged 58. (Edited from Wikipedia/Stewie Speer)
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