This year Radioinfo will take you back 50 years to songs from 1974. It was a mighty fine year for music.
In the 70s in Australia I believe the three most influential men creating opportunities for others as well as themselves were Ian ‘Molly’ Meldrum, Ross Wilson and Brian Cadd.
Brian Cadd was born in Western Australia and turns 78 this week. If perchance you don’t immediately know either he or his music, he is still performing and his wild mane of white hair more impressive that Brian May of Queen’s. But you don’t see him for his hair, you will be astonished at how fresh his songs still sound, and how many you’ll know.
The Archibald Prize entry by Phillip Howe portraying ‘the incredible burning passion and power of Brian Cadd in performance’ – from the album Bulletproof by Brian Cadd & the Bootleg Family Band
Cadd was a piano playing child prodigy already mightily involved in the jazz scene in his teens before joining The Groop in the late 60s and having a couple of pop-tastic hits with them. They unsuccessfully tried to break into Europe and on their return to Australia, shortly before the band broke up, said yes to helping out the previously mentioned Molly Meldrum with a manifesto of a song he was working on.
That song was The Real Thing, released by Russell Morris and one of the greatest music productions put together of all time. It was just to be a typical three minute song, but after the recording was done everyone was left to continue to jam together with the tapes still rolling.
Cadd is credited with playing the Hammond organ, piano and a megaphone voice track.
After that Cadd and Groop mate Don Mudie really liked the more rock-y type sound and decided to build a new band called Axiom together. Their biggest hit, which was NOT a rocker at all, A Little Ray of Sunshine, is still one of the most beautiful odes to a new baby daughter. Written by Cadd and Mudie, Cadd shares the vocals with Glenn Shorrock, who would go on to form the internationally successful Little River Band.
By 1971 Axiom and broken up, and to both have more control over his work and support the talents of the many others he’d already worked with, Cadd set up Bootleg Records under Ron Tudor’s Fable Records.
Bootleg Records would record hit singles for Shorrock, Robin Jolley, Ronnie Burns, Broderick Smith and was the first to sign Tina Arena. Cadd’s songs would be recorded by The Pointer Sisters, Bonnie Tyler, Joe Cocker, Gene Pitney, The Charlie Daniels Band and more. He would assist John Farnham’s 70s evolution from “Little Johnny” to the legend he is now with Don’t You Know It’s Magic from 1973. Cadd’s session singers also had a couple of hits as The Bootleg Family Band too.
Cadd always had an eye on the US market with Axiom’s Arkansas Grass a lot more internationally appealing than ‘laying on Loganholme grass’ for instance. In 1972 he released solo my favourite of his songs, and the highest charting, Ginger Man, which takes you on a journey around the US through letters, as well as breaking your heart. I remember hearing that song for the first time. It is just as powerful now.
He then sang the theme song to Australia’s first R rated movie Alvin Purple, and its sequel. Which brings us to around 1974. Cadd is only 27!
Let Go was Cadd’s final charting effort here and a relatively minor hit as he headed to the US for the next 18 years. It is country, rock, folk, a ballad and pop all rolled into one. The lyrics are as true today as 50 years ago:
Like a good old wine, or rock and roll if it feels real good let it move you so,
But, if it hurts to say her name, baby let go.
If you have the chance, go see him. Happy 78th for Friday Brian.
Main picture: Brian Cadd in 1973 by Rennie Ellis, from the book Rock Country, edited by Christian Ryan.
Jen Seyderhelm is a writer, editor and podcaster for Radioinfo