Little River Band -

The Little River Band was an Australian harmony rock band that released nine albums between 1975 and 1986 on Harvest and Capitol. They formed as super-group of players from popular Aussie acts (The Twilights, Zoot, Axiom, Mississippi).

LRB was one of the first Aussie acts to conquer the Northern Hemisphere. They peaked in popularity with the 1978–79 albums Sleeper Catcher and First Under the Wire. Their hits include “Help Is On Its Way,” “Reminiscing,” “Lady,” “Lonesome Loser,” and “Night Owl.”

Members: Graeham Goble (guitar, vocals, 1975-92), Derek Pellicci (drums, percussion, 1975-84, 1987-98), Beeb Birtles (guitar, vocals, 1975-83), Glenn Shorrock (lead vocals, keyboards, 1975-82, 1987-96), Dave Orams (bass, 1975), Graham Davidge (guitar, 1975), Roger McLachlan (bass, vocals, 1975-76, 1998-99), Rick Formosa (guitar, vocals, 1975-76), David Briggs (guitar, vocals, 1976-81), George McArdle (bass, vocals, 1976-79), Barry Sullivan (bass, vocals, 1979-80), Wayne Nelson (bass, lead vocals, 1980-96, 1999-present), Stephen Housden (guitar, vocals, 1981-2006), John Farnham (lead vocals, 1982-86), David Hirschfelder (keyboards, programming, vocals, 1983-87), Steve Prestwich (drums, percussion, 1984-87), Tony Sciuto (keyboards, guitar, vocals, 1990-92, 1994-97), Peter Beckett (guitar, vocals, 1992-97)

Background

The Little River Band formed in early 1975 when alumni of several popular Australian rock bands converged in Melbourne.

Vocalist Glenn Shorrock hailed from Sixties beatsters The Twilights, which also featured guitarist and songwriter Terry Britten. At the turn of the Seventies, Shorrock fronted rustic-rockers Axiom with singer–songwriter Brian Cadd. That band broke up after relocating to England, where Shorrock was recruited for the multi-national super-project Esperanto. He sang lead on their 1973 debut album and did backing vocals on their sophomore release, Danse Macabre.

Guitarist–singer Beeb Birtles started in late-Sixties garage-rockers Zoot, which he co-fronted with a young Rick Springfield. In late 1972, Birtles joined guitarist–singer Graeham Goble in the rustic-rock combo Mississippi, which released a self-titled album earlier that year. Drummer Derek Pellicci (ex-Blackfeather) joined in time for their post-album singles. Their revolving bass slot was briefly filled by ex-Healing Force singer Charlie Tumahai, a subsequent member of Be-Bop Deluxe.

Formation

In 1974, Mississippi launched an abortive tour of the UK, where Birtles, Goble, and Pellicci met Shorrock, who became their new vocalist. They also met ex-Masters Apprentices bassist Glenn Wheatley, who agreed to manage the band in Australia. Wheatley’s familiarity with the lopsided deals allotted to Sixties Aussie acts, combined with his experience in US and UK music management, gave him insights on how to market an Australian band in the Northern Hemisphere.

The new Mississippi convened in Melbourne in February 1975 with ex-Quincy Conserve bassist Dave Orams and future-Goanna guitarist Graham Davidge. Their name-change came about as they carpooled to a gig and passed the Little River exit. Shorrock suggested “Little River” as a possible song title. Seconds later, he suggested Little River Band as a group name. The other members immediately agreed with his suggestion.

For their first single, the Little River Band recorded a cover of the Everly Brothers’ “When Will I Be Loved” but were beaten to the market by Linda Ronstadt, who scored a No. 2 Billboard hit with her March 1975 version. (The following year, Scottish posters Slik recorded the song for their album.) LRB’s version remained vaulted until the 1988 rarities compilation Too Late to Load.

Davidge and Oram were replaced, respectively, by Italian-Canadian guitarist Ric Formosa and Kiwi bassist Roger McLachlan. The Little River Band signed to EMI Records in May 1975 and entered Armstrong’s Studios in Melbourne to record their first album.

Little River Band

The Little River Band released their self-titled debut album in October 1975 on EMI.

Little River Band features three songs by Graeham Goble: “I Know It,” “My Lady and Me,” and “It’s a Long Way There,” the album’s Mississippi-like opening epic. Glenn Shorrock wrote “Meanwhile …” and the core of side two: “The Man in Black,” “Emma,” and “Statue of Liberty,” which he first recorded with Esperanto. Beeb Birtles submitted “Curiosity (Killed the Cat)” and “I’ll Always Call Your Name,” both lifted as singles.

Goble arranged the vocal harmonies. He and Birtles split guitar textures (electric, acoustic) and share lead and backing vocals with principle singer Shorrock, who plays harmonica and sundry percussion. Ric Formosa plays the electric lead and slide parts.

“It’s a Long Way There” broadens from opening strum and low riff to strings, three-part harmony, and Ric Formosa’s extended solo. “Curiosity (Killed the Cat)” shuffles through clavinet accents, a sixteenth-note lower-register line, straight-eighth percussion, and a phase-treated guitar line.

“I’ll Always Call Your Name” drops a low descent after the first section, then turns through a half-time middle eight before the G-pedal chorus. “Emma” bounces on a Fifties-pattern low line while half-speed acoustic tracks return with mandolin-like crispness. “Statue of Liberty” adds a bouncy saxophone-marked setting. “I Know It” eases into a softer acoustic finish.

A1. “It’s a Long Way There” (8:39)
A2. “Curiosity (Killed the Cat)” (3:40)
A3. “Meanwhile …” (3:35)
A4. “My Lady and Me” (5:45)

B1. “I’ll Always Call Your Name” (4:48)
B2. “Emma” (3:35)
B3. “The Man in Black” (5:06)
B4. “Statue of Liberty” (3:28)
B5. “I Know It” (3:21)

Sessions took place at Armstrong, where Birtles, Goble, and Shorrock co-produced the album with Glenn Wheatley. Soundman Ross Cockle engineered Little River Band in sequence with 1974–75 titles by Bluestone, Cadd, Kush, Marcia Hines, and ex-Masters Apprentices singer Jim Keays.

Musical guests on Little River Band include Ayers Rock saxophonist Col Loughnan (“Statue of Liberty”) and percussionist Gary Hyde, a prolific sessionist (Brian Cadd, Moir Sisters). Arena pianist Peter Jones (ex-MacKenzie Theory) plays an auxiliary role throughout apart from “Emma,” which features Aussie sessionist Ian Mason (Skyhooks, Linda George). Multi-instrumentalist Stephen Cooney (a sideman of Cadd, Mandu, and Phil Manning) appears on clavinet (“Curiosity”) and mandolin (“I Know It”).

Little River Band first appeared in Oceania with a gatefold illustration that shows the band (caricatured) in a carpool along the Little River exit with Melbourne in the distant background. The inner-gates have lyrics and candid live pics of each member.

“Curiosity (Killed the Cat)” preceded the album in late August as their first single, backed with “I Just Don’t Get The Feeling Anymore,” a non-album Goble number. “Curiosity (Killed the Cat)” reached No. 15 on Australia’s official national chart, the Kent Music Report.

B. “I Just Don’t Get The Feeling Anymore” (4:52)

In December, EMI lifted “Emma” as the second single, backed with “Love Is a Feeling,” an exclusive Birtles original. “Emma” reached No. 20 on Kent.

B. “Love Is a Feeling” (4:50)

In September 1976, EMI’s Harvest division issued Little River Band in the US with a new dockside cover photo.

To mark the relaunch, “It’s a Long Way There” became their fourth Australian single and first overseas, where it reached No. 14 in the Netherlands and No. 28 on the US Billboard Hot 100. The Australian b-side, “Time to Fly,” is a Birtles exclusive.

B. “Time to Fly” (2:57)

In January 1977, Harvest lifted “I’ll Always Call Your Name” as their second US single (b/w “The Man in Black”).

Little River Band reached No. 12 on the Kent Music Report and certified double-Gold. In 1996, US archivists One Way reissued the album on CD with a bonus tenth track, “Please Don’t Ask Me,” a Goble rarity (3:18).

After Hours

The Little River Band released their second album, After Hours, in April 1976 on EMI.

After Hours features two songs each from Glenn Shorrock (“Seine City,” “Sweet Old Fashioned Man”), Graeham Goble (“Days on the Road,” “Country Girls”), and Beeb Birtles (“Everyday of My Life,” “Take Me Home”). Goble co-wrote “Broke Again” with Birtles, who co-wrote “Another Runway” with Ric Formosa, who sings lead on his own contribution, “Bourbon Street.”

After Hours is their second of two albums with the original six-piece lineup of Birtles, Goble, Shorrock, Formosa, drummer Derek Pellicci, and bassist Roger McLachlan.

“Days on the Road” rises from bass and electric-piano notes into strings, then entwines fretboard licks and flute solos. “Everyday of My Life” punches through brass accents under Birtles’s lead. “Broke Again” slows around a saxophone break. “Seine City” curls mandolin figures around the sung phrases. “Another Runway” glides from cor anglais into strings and delicate jazzy figures under Birtles’ airy vocal.

“Bourbon Street” jumps through springy piano and interlaced solo breaks as Ric Formosa steps to the mic. “Sweet Old Fashioned Man” leans on pedal steel and dobro. “Take Me Home” shifts from contained passages into hotter release points, with keyboard runs and bent-note breaks. “Country Girls” drifts through a blues-leaning sway and harmonized replies.

A1. “Days on the Road” (5:20)
A2. “Everyday of My Life” (3:45)
A3. “Broke Again” (3:25)
A4. “Seine City” (3:43)
A5. “Another Runway” (6:28)

B1. “Bourbon Street” (4:22)
B2. “Sweet Old Fashioned Man” (4:34)
B3. “Take Me Home” (5:09)
B4. “Country Girls” (7:11)

Sessions occurred at AAV (Armstrong Audio–Video), where the Little River Band self-produced After Hours in the presence of returning engineer Ross Cockle, who also worked on 1976 titles by Avalanche, Redhouse, and Marjorie Spicer.

Guest musicians include Crossfire saxophonist Tony Buchanan, Dingoes mandolinist Kerryn Tolhurst, session steel guitarist Mike Burke, accordionist Aurora Moratti, woodwind player Eddy Denton (cor anglais), returning keyboardist Ian Mason, and a four-piece horn section of the ABC Showband: reedist Graeme Lyall, trombonist Don Lock, and trumpeters Bobby Vinier and Peter Salt.

EMI lifted “Everyday of My Life” as the Little River Band’s second single in New Zealand and third in Australia, where it reached the Kent Top 30 (b/w “Days on the Road”).

After Hours reached No. 5 on the Kent Music Report. EMI released the album in Oceania, Japan, and the Netherlands but withheld it from other markets due to the time-lapse of Little River Band, which first appeared in North America five months later.

Before sessions commenced on their next album, Ric Formosa and Roger McLachlan cleared for guitarist David Briggs and roughneck bassist George McArdle. McLachlan joined Adelaide country-rockers Stars and played on their 1977 debut album Paradise.

Diamantina Cocktail

The Little River Band released their third album, Diamantina Cocktail, in May 1977 on EMI. It features the timely hit “Happy Anniversary” and the evergreens “Home on Monday” and “Help Is on Its Way.”

Beeb Birtles wrote “Raelene, Raelene” and co co-wrote “Witchery” with Graeham Goble, who wrote “The Drifter,” “The Inner Light,” and “Changed and Different.” David Briggs co-wrote songs with Birtles (“Happy Anniversary”) and Glenn Shorrock (“L.A. in the Sunshine”). Shorrock contributed the two biggest hits: “Home on Monday” (a Birtles co-write) and “Help Is on Its Way,” their breakthrough US single.

Diamantina Cocktail is the first of two albums with the second LRB lineup of Shorrock, Goble, Birtles, Derek Pellicci, and new arrivals Briggs and George McArdle. The album’s title refers to a rum concoction native to the Diamantina River in Queensland.

“Help Is On Its Way” rolls on a throbbing bass line and steely lead that signals Sharrock’s bouyant verses, which crest on panoramic title harmonies. “The Drifter” steadies a darker, blues-tinted lead. “L.A. in the Sunshine” boogies through a zipper-like scrape and late backing parts. “The Inner Light” tightens around punchier phrasing and short harmony entries. “Witchery” stomps on a solid rhythm section.

“Home on Monday” taps in with twangy leads and soft strum as Sharrock’s remote memo resolves in hard arrival date. “Happy Anniversary” slides with slick chordal twists and octave bass licks under triple-tracked falsettos. “Raelene, Raelene” slows around Birtles’s pensive lead. “Raelene, Raelene” places Beeb Birtles at the front over strings and a heavier contour. “Changed and Different” trots over a banjo underlay.

A1. “Help Is on Its Way” (4:06)
A2. “The Drifter” (3:53)
A3. “L.A. in the Sunshine” (3:07)
A4. “The Inner Light” (3:31)

B1. “Witchery” (2:48)
B2. “Home on Monday” (3:53)
B3. “Happy Anniversary” (4:04)
B4. “Raelene, Raelene” (4:27)
B5. “Changed and Different” (4:02)

Sessions took place at Armstrong, where the Little River Band co-produced the album with American John Boylan (ex-Appletree Theatre), an in-demand soundman who flew down to work with LRB after finishing work on the multi-Platinum debut album by Boston. Ross Cockle engineered Diamantina Cocktail ahead of Stuffed, the first album by Kiwi art-rockers Mother Goose.

Diamantina Cocktail features auxiliary musicianship from returning After Hours guests Denton, Mason, Buchanan, Lyall, and (from the first album) pianist Peter Sullivan. Two tracks (“The Inner Light,” “Raelene, Raelene”) feature prior bassist Roger McLachlan.

Melbourne graphic artist Ian McCausland designed the Diamantina Cocktail cover, which presents the band in Edwardian formal attire. McCausland’s prior credits include titles on Mushroom and Infinity by the Aztecs, Chain, Skyhooks, and Ayers Rock (Beyond). UK copies have a simple illustration of a wine glass / soda can hybrid.

“Help Is on Its Way” appeared weeks earlier as the first single (b/w “Changed and Different”). On the week of June 26, 1977, “Help Is on Its Way” reached No. 1 on the Kent Music Report, where it ended the seven-week reign of “Don’t Cry for Me Argentina,” the ballad from the Tim Rice / Andrew Lloyd Webber musical Evita, sung by Rock Follies performer Julie Covington.

In Oceania, “Witchery” (b/w “L.A. in the Sunshine”) became the second single, followed by the Dutch hit “Home on Monday” (b/w “Raelene, Raelene”).

Diamantina Cocktail reached No. 2 on the Kent album chart and No. 5 in the Netherlands. Meanwhile, Harvest issued the album as their second North American release in altered form. This version gathers four songs from the Australian album (“Help Is on Its Way,” “Home on Monday,” “Happy Anniversary,” “The Inner Light”) and five from After Hours (“Days on the Road,” “Everyday of My Life,” “Another Runway,” “Broke Again,” “Take Me Home”). In 1980, Capitol Records gathered the missing tracks from both albums on the US version of After Hours, released as their fifth stateside album.

“Help Is on Its Way” and the fourth single, “Happy Anniversary,” reached respective peaks of No. 14 and 16 on the Billboard Hot 100.

Sleeper Catcher

The Little River Band released their fourth album, Sleeper Catcher, in April 1978 on EMI and Harvest. It features two of their most beloved songs: “Lady” and “Reminiscing,” both ballads composed by Graeham Goble.

Glenn Shorrock wrote the upbeat “Shut Down Turn Off” and co-wrote songs with associate Charles Dawes (“Sanity’s Side”) and ex-Mixtures frontman Idris Jones (“So Many Paths”).

Beeb Birtles wrote the lengthy “Light of Day” and teamed with Goble on two intense tracks: “Fall from Paradise” and “One for the Road,” a lament on road life. He co-wrote the album’s most aggressive number, “Red-Headed Wild Flower,” with Aussie journalist Ed Nimmervoll.

“Fall from Paradise” opens through an orchestral swell before the first sung passage. “Lady” de-escalates on a slow, chromatic ivory motif that levels with the chorus: an ambiguous address to the subject. “Red-Headed Wild Flower” slides across a twang-edged guitar figure, a dry lead vocal, and close three-part harmonies; the final chord leaves only the voices. “Light of Day” opens already in motion, widens into broad harmonic turns, then gives the back half to an extended coda with a late bass solo.

“So Many Paths” quickens into a bright, driving track with compact harmony replies. “Reminiscing” glides on a soft sway with sunny harmonies and light flugelhorn jazz accoutrements. “Sanity’s Side” slides forth with twangy licks and settles into a measured lead with tight harmonies. “Shut Down Turn Off” crosses tight chords and a spiraling Moog line with strummed earnest delivery about road life. “One for the Road” rounds its phrases with layered harmony entries.

A1. “Fall from Paradise” (3:59)
A2. “Lady” (4:50)
A3. “Red-Headed Wild Flower” (4:35)
A4. “Light of Day” (8:03)

B1. “So Many Paths” (4:24)
B2. “Reminiscing” (4:13)
B3. “Sanity’s Side” (4:14)
B4. “Shut Down Turn Off” (3:51)
B5. “One for the Road” (4:01)

Sessions occurred at Armstrong with John Boylan, who also produced 1978 titles by Dane Donohue, REO Speedwagon, and the second Boston album Don’t Look Back. Ross Cockle co-engineered Sleeper Catcher in sequence with Paradise by Stars, the current band of ex-LRB bassist Roger McLachlan.

Former LRB guitarist Ric Formosa handles orchestral arrangements on Sleeper Catcher, which features current guitarist David Briggs on the Roland Gs-500 Synth Guitar.

Musical guests include flutist Vernon Hill, harpist Pam Raines, ABC Showband trumpeter Bob Venier (on flugelhorn), and returning auxiliary pianists Peter Jones and Peter Sullivan. Veteran Aussie rock keyboardist Mal Logan (Bakery, Carson, Healing Force, Renee Geyer) plays Hammond organ.

For the cover, photographer Derek Hughes captured the band playing Two-up, an illegal Australian gambling game played with pennies. In Two-up, the “sleeper catcher” is the player who retrieves bets neglected by tardy participants. Hughes also took the blue viking picture of Jim Keays on the singer’s 1974 album The Boy From the Stars.

“Shut Down Turn Off” appeared weeks before Sleeper Catcher as an advance single backed with the After Hours cut “Days On the Road.” It reached No. 16 on the Kent Music Report.

In June 1978, “Reminiscing” became the second single in Oceania and Europe, backed with the After Hours cut “Take Me Home.” The Little River Band filmed the “Reminiscing” video at Melbourne’s Windsor Hotel inside the Persian-carpeted penthouse apartment of motor racer Peter Janson, where they mime, cavort, and play pool in leisure attire.

In July, Harvest lifted “Reminiscing” as the first Sleeper Catcher single (b/w “So Many Paths”) in North America, where it reached No. 7 on Canada’s Top Singles chart and No. 3 on the Billboard Hot 100.

In September, “Lady” became the third Oceanic single (b/w “Happy Anniversary”) and the second North American single (b/w “Take Me Home”). It reached No. 4 on Canada’s Adult Contemporary Chart, No. 10 on the US Billboard and Cashbox charts, and No. 17 in New Zealand.

Sleeper Catcher reached No. 4 in Australia, No. 12 in New Zealand, and No. 16 on the US Billboard 200.

In January 1979, George McArdle left the music world to enter bible studies and become a Christian minister.

First Under the Wire

The Little River Band released their fifth album, First Under the Wire, on July 9, 1979, on Capitol. It features the ballad “Cool Change” and the harmony-rock anthem “Lonesome Loser.”

Graeham Goble wrote three songs (“It’s Not a Wonder,” “Hard Life,” “Mistress of Mine”) and co-wrote three (“Middle Man,” “By My Side,” “Man on the Run”) with Beeb Birtles, who singles lead on the last two. Glenn Shorrock submitted “Cool Change” and “The Rumour,” an urgent number with a sunny intro. David Briggs emerged with the prelude to Goble’s “Hard Life” and the opening salvo “Lonesome Loser,” an enduring FM staple.

“Lonesome Loser” launches with an acapella chorus and slides into Briggs’ guitar licks, which frame Shorrock’s lament amid remote, haunted voices. “The Rumor” opens in a folky hush before it breaks into firmer motion with a fold-out harmonized bridge and revved chorus. “By My Side” lingers at a slower pace with blues-leaning phrasing. “Cool Change” settles into a late-night hush with saxophone behind the lead. “It’s Not a Wonder” tightens into firmer, charged phrasing.

“Hard Life (Prelude)” narrows to a fretted instrumental. “Hard Life” expands through extended solo breaks and a firmer band track. “Middle Man” slows around soft duet phrases and reed undercurrents. “Mistress of Mine” glints with electric sitar and a faint Eastern contour.

A1. “Lonesome Loser” (3:58)
A2. “The Rumour” (4:18)
A3. “By My Side” (4:25)
A4. “Cool Change” (5:14)
A5. “It’s Not a Wonder” (3:56)

B1. “Hard Life” (Prelude) (2:42)
B2. “Hard Life” (4:46)
B3. “Middle Man” (4:24)
B4. “Man on the Run” (4:16)
B5. “Mistress of Mine” (5:32) features David Briggs on the Coral Electric Sitar.

First Under the Wire is their third and final album with producer John Boylan, who also worked on 1979 country titles by Michael Martin Murphey and the Charlie Daniels Band. Sessions commenced soon after George McArdle’s departure, before the Little River Band found a new bassist. Therefore, FUtW bass credits divide evenly between Clive Harrison (ex-Avalanche, Bootleg Family Band) and sessionist Mike Clarke, a former member of the mid-Seventies jazz-funk bands Skylight and Stylus.

Ex-Kush saxophonist Bill Harrower plays on “Cool Change” and “Middle Man.” Boylan plays acoustic guitar on “The Rumour.” Returning keyboardists Peter Sullivan and Peter Jones (the orchestrator) play on four and six tracks, respectively.

“Lonesome Loser” became the first single in Oceania (b/w “Another Runaway”) and North America (b/w “Shut Down Turn Off”). It reached No. 3 in Canada, No. 6 on Billboard, and No. 19 in Australia.

In August, Capitol lifted “Cool Change” as the second single in North America (b/w “Middle Man”). It reached No. 10 on the Billboard Hot 100 (No. 8 AC).

First Under the Wire reached No. 19 in New Zealand, No. 10 on the US Billboard 200, and No. 2 on the Australian Kent Music Report.

Birtles and Goble

Between albums, Birtles and Goble formalized a side-duo that had already produced the 1978 single “Lonely Lives” and the 1979 Australian hit “I’m Coming Home.” In May 1980, Capitol issued their album The Last Romance.

The album contains nine Birtles–Goble originals and a cover of Randy Newman (“He Gives Us All His Love”). Birtles wrote “Last Romance,” “The Netherlands,” and “Into My Life.” Goble wrote “I Didn’t Stand a Chance,” “How I Feel Tonight,” and “Whales.” They co-wrote “Lonely Lives,” “I’m Coming Home,” and “You’ll Never Change Your Mind.”

The Last Romance uses LRB-adjacent players across its sessions. David Briggs appears on guitar, Derek Pellicci plays drums and percussion on selected tracks, and Bill Harrower adds saxophone to “Lonely Lives.” The rhythm section also draws on bassist Mike Clarke and drummer Mark Kennedy, both recent presences around the First Under the Wire studio circle.

Capitol lifted “How I Feel Tonight” as the 1980 single, backed with “The Netherlands.” The duo did not make a second album, and both members resumed the LRB cycle that led to Time Exposure.

Time Exposure

The Little River Band released their sixth album, Time Exposure, in September 1981 on Capitol.

Beeb Birtles wrote “Guiding Light” and co-wrote songs with Graeham Goble (“Ballerina”) and screenwiter Frank Howson (“Suicide Boulevard”). Goble submitted four songs: “Take It Easy on Me,” “Just Say That You Love Me,” “Full Circle,” and “The Night Owls,” a striking rocker with vocals by new bassist Wayne Nelson.

Glenn Shorrock co-wrote songs with Dingoes guitarist Kerryn Tolhurst (“Man on Your Mind”) and associate Terry Bradford (“Orbit Zero”). David Briggs contributed “Don’t Let the Needle Win” and collaborated on “Love Will Survive” with veteran songwriter Garry Paige.

“The Night Owls” puts Wayne Nelson up front and rises into a four-part chorus. “Man on Your Mind” drives on a gritty, bass-loaded arrangement. “Take It Easy on Me” opens on quiet piano, then rises into a firmer rhythmic section as Nelson enters for the middle eight. “Ballerina” places Beeb Birtles at the front of a soft harmony piece. “Love Will Survive” lingers in an unhurried hush with glazed harmonies.

“Full Circle” darts through a marching beat and tiered harmonies, with brief strings behind the vocal group. “Just Say That You Love Me” pounds through tight guitar swing. “Suicide Boulevard” threads biting guitar runs through smooth acoustic figures. “Orbit Zero” drifts through ethereal calm. “Don’t Let the Needle Win” sets acoustic figures against biting guitar runs. “Guiding Light” returns Birtles to the front over acoustic figures and sweet harmonies.

A1. “The Night Owls” (5:16)
A2. “Man on Your Mind” (4:14)
A3. “Take It Easy on Me” (3:45)
A4. “Ballerina” (4:02)
A5. “Love Will Survive” (4:38)

B1. “Full Circle” (1:54)
B2. “Just Say That You Love Me” (3:59)
B3. “Suicide Boulevard” (3:23)
B4. “Orbit Zero” (4:27)
B5. “Don’t Let the Needle Win” (3:57)
B6. “Guiding Light” (3:36)

Little River Band recorded Time Exposure at AIR Studios, Montserrat, with producer George Martin and engineers Geoff Emerick and Ernie Rose. Michael Stavrou served as tape operator; Wally Traugott mastered the album at Capitol Records Studios, Hollywood. “Don’t Let the Needle Win” co-writer Paige wrote the 1975 Johnny Rocco Band number “Heading in the Right Direction,” a much-covered song that became Renée Geyer’s first hit.

Time Exposure appeared in a Capitol sleeve with art direction by Roy Kohara. The cover presents the six-piece lineup in a staged group photograph beneath the album title.

Capitol lifted “The Night Owls” in September 1981, backed with “Suicide Boulevard.” The video places Wayne Nelson’s lead vocal in a night-interior setting with direct band-performance shots, dark lounge lighting, and close facial framing. “The Night Owls” reached No. 6 on the Billboard Hot 100, No. 18 on the Australian Kent Music Report, and No. 33 on the Billboard Adult Contemporary chart.

In December, “Take It Easy on Me” became the second North American single, backed with “Orbit Zero.” The video centers Glenn Shorrock at the keyboard in staged performance footage, with Stephen Housden visible in the guitar lineup. “Take It Easy on Me” reached No. 10 on the Billboard Hot 100 and No. 14 on the Billboard Adult Contemporary chart.

EMI lifted “Man on Your Mind” in Australia in December 1981, backed with “Love Will Survive.” Capitol issued the song in North America in March 1982, backed with “Orbit Zero.” The video uses direct ensemble footage with Shorrock in the front vocal position and the band framed under stark studio light. “Man on Your Mind” reached No. 14 on the Billboard Hot 100 and No. 16 on Billboard Top Tracks.

In January 1982, “Ballerina” appeared as a European single. “Take It Easy on Me” followed in Australia in March.

Time Exposure reached No. 9 in Australia, No. 21 on the Billboard 200 chart, and No. 32 on Canada’s Top Albums/CDs chart.

1982 Lineup Change

Glenn Shorrock left the Little River Band in 1982 after the Time Exposure cycle. His first post-LRB album, Villain of the Peace, appeared on Capitol in 1982 with John Boylan as producer. The album placed Shorrock back with an American studio cast and included the single “Rock and Roll Soldier,” which reached the Australian Top 40.

John Farnham entered LRB after a long Australian pop and entertainment career. He first recorded as Johnny Farnham and topped the Australian chart with the 1967 single “Sadie (The Cleaning Lady).” During the seventies, he sustained a television, stage, and club profile before manager Glenn Wheatley recast him through the 1980 album Uncovered.

Graeham Goble produced Uncovered, wrote or co-wrote most of its songs, and helped place Farnham inside the LRB circle. Farnham reached No. 8 in Australia with a 1980 remake of “Help!” and then joined LRB after Shorrock’s exit.

The new lineup debuted on the 1982 compilation Greatest Hits with “The Other Guy” and “Down on the Border.” “The Other Guy” reached No. 18 in Australia and No. 11 on the Billboard Hot 100. “Down on the Border” reached No. 7 in Australia and carried Farnham’s voice into the band’s domestic singles market.

The Net

The Little River Band released their seventh album, The Net, in May 1983 on Capitol.

The Net is the first LRB studio album with Farnham and guitarist Stephen Housden. Keyboardist David Hirschfelder also enters the recorded lineup, while Birtles and Pellicci make their final studio-album appearances of the period. Goble wrote five songs and co-wrote the opener with Birtles, who also submitted “No More Tears” and “Mr. Socialite.”

“You’re Driving Me Out of My Mind” hurries through a skipping rhythm, brass effects, and a skittering fretted figure. “Mr. Socialite” hands the lead to Beeb Birtles and sets harmony entries behind the front phrase. “Down on the Border” returns brief harmony parts behind the lead. “The Danger Sign” presses a firm, even beat. “Falling” cuts through abrasive guitar and urgent section turns. “Sleepless Nights” lingers on a slack, slow sway. “Easy Money” shifts the lead to Wayne Nelson and splices taped effects into the track. “The Net” folds splashing-water effects into its final stretch.

A1. “You’re Driving Me Out of My Mind” (5:11) – Birtles, Goble
A2. “We Two” (4:32) – Goble
A3. “No More Tears” (3:20) – Birtles
A4. “Mr. Socialite” (5:24) – Birtles
A5. “Down on the Border” (2:56) – Goble

B1. “The Danger Sign” (4:02) – Birtles, Howson
B2. “Falling” (4:19) – Housden, Wakeford
B3. “Sleepless Nights” (5:10) – Goble
B4. “Easy Money” (4:02) – Goble
B5. “The Net” (4:42) – Goble

Little River Band recorded The Net at AAV Studios, Melbourne, with co-producer and engineer Ernie Rose. Bob Clearmountain mixed the album at the Power Station, New York, with Michael Wickow as additional engineer. William Kipper and Bob Ludwig mastered the album at Masterdisk.

The Net appeared in a sleeve with cover concept and art direction by Peter McArthur. Anita Xhafer supplied the illustration; Graham Hosking shot the inner-sleeve photography. The printed inner sleeve carries lyrics, credits, and individual band photographs.

Capitol lifted “We Two” in May 1983, backed with “Falling.” The video uses concert-stage footage from Melbourne Concert Hall, with Farnham fronting the band under formal hall lighting. “We Two” reached No. 22 on the Billboard Hot 100 and No. 14 on the Billboard Adult Contemporary chart.

In July, “You’re Driving Me Out of My Mind” became the second single, backed with “Mr. Socialite.” The video uses 1983 performance footage with Farnham at center and Hirschfelder visible in the keyboard role. “You’re Driving Me Out of My Mind” reached No. 35 on the Billboard Hot 100 and No. 11 on the Dutch Top 40.

The Net reached No. 11 in Australia, No. 14 in New Zealand, No. 23 in the Netherlands, No. 31 in Germany, and No. 61 on the Billboard 200 chart.

Birtles and Pellicci left after The Net. Pellicci later returned for the Monsoon lineup. Birtles resumed his association with Goble through later Birtles–Shorrock–Goble projects.

Playing to Win

The Little River Band released their eighth album, Playing to Win, in January 1985 on Capitol.

Playing to Win appeared in some territories under the shortened LRB name. It is the second album with Farnham and the first with drummer Steve Prestwich, formerly of Cold Chisel. Hirschfelder becomes a full studio member, and Spencer Proffer joins the group as producer.

“Playing to Win” barrels through a rougher band track, with Farnham belting over thick backing parts. “Relentless” locks its beat to synthesizer figures. “Blind Eyes” cuts through spiky, metallic-edged phrases. “Through Her Eyes” settles into a shuffle. “When Cathedrals Were White” leans on a heavy beat. “Don’t Blame Me” hurries through a bustling arrangement. “One Shot in the Dark” thumps through tight rhythmic figures and guitar licks. “Count Me In” sweeps around Wayne Nelson’s lead.

A1. “Playing to Win” (3:01) – Farnham, Goble, Proffer
A2. “Reappear” (4:07) – Goble, Housden, Wakeford
A3. “Blind Eyes” (4:59) – Chapman, Farnham, Hirschfelder
A4. “Through Her Eyes” (5:17) – Goble, Housden, Proffer, Wakeford
A5. “When Cathedrals Were White” (4:24) – Goble, Hirschfelder, Housden

B1. “Relentless” (5:28) – Goble, Proffer
B2. “Piece of the Dream” (4:11) – Nelson, Scheibner, Shepherd
B3. “Don’t Blame Me” (3:31) – Goble
B4. “One Shot in the Dark” (3:34) – Goble, Housden, Proffer, Wakeford
B5. “Count Me In” (3:54) – Nelson, Scheibner

LRB recorded Playing to Win in the United States with producer Spencer Proffer. Duane Baron engineered the album, with additional work by Hanspeter Huber, Humberto Gatica, Brian Foraker, Jay Healy, and Fred Law.

Capitol lifted “Playing to Win” in November 1984, backed with “Through Her Eyes.” The video places the band in a performance setting with sport and competition imagery tied to the title phrase. “Playing to Win” reached No. 15 on the Billboard Mainstream Rock chart, No. 59 in Australia, and No. 60 on the Billboard Hot 100.

“Blind Eyes” followed in 1985, backed in the United States with “The Butterfly,” recorded live at the Pier.

Playing to Win reached No. 18 in New Zealand, No. 38 in Australia, and No. 75 on the Billboard 200 chart.

No Reins

The Little River Band released their ninth album, No Reins, in May 1986 on Capitol.

No Reins is the final LRB studio album with Farnham and the second with Prestwich. Goble writes or co-writes most of the material, while Prestwich contributes “When the War Is Over,” a Cold Chisel-era song newly placed inside the LRB repertoire.

“No Reins on Me” locks a guitar riff under high harmony entries and a punchier arrangement. “Time for Us” sets hard-edged harmony blocks inside a smooth mix. “When the War Is Over” smooths the Prestwich song under Farnham’s lead. “Thin Ice” frames its lead with hard-edged harmony blocks. “Paper Paradise” plays with tropical-pop patter and bright rhythmic decoration.

A1. “Face in the Crowd” (4:45) – Goble
A2. “It’s Just a Matter of Time” (4:09) – Goble, Nelson
A3. “Time for Us” (5:50) – Goble
A4. “No Reins on Me” (4:40) – Goble, Housden, Nelson, Prestwich
A5. “When the War Is Over” (5:09) – Prestwich

B1. “Thin Ice” (4:27) – Goble, Housden, Nelson, Prestwich
B2. “How Many Nights?” (4:38) – Farnham, Goble, Housden, Nelson, Prestwich
B3. “Forever Blue” (5:06) – Goble
B4. “Paper Paradise” (4:10) – Goble, Housden, Nelson, Prestwich
B5. “It Was the Night” (4:57) – Goble

LRB recorded and mixed No Reins at Platinum Studios, Melbourne, with producer and additional engineer Richard Dodd. Chris Corr engineered the album; Steve Hall handled mastering.

No Reins appeared in a Capitol sleeve with art direction by Roy Kohara and design by Mark Shoolery.

Capitol issued “Time for Us” in the United States, backed with “It Was the Night.” EMI lifted “No Reins on Me” in Australia, backed with “Paper Paradise.” “Face in the Crowd” followed with “Thin Ice” in Australia and “Paper Paradise” in the United States. In December 1986, “When the War Is Over” appeared in Australia, backed with “How Many Nights?”

No Reins reached No. 85 on the Australian Kent Music Report.

Farnham left LRB after No Reins and relaunched his solo career with the 1986 album Whispering Jack. The album and its lead single “You’re the Voice” made Farnham a renewed Australian chart presence and closed his LRB period.

Monsoon

The Little River Band released their tenth album, Monsoon, in May 1988 on MCA.

Monsoon marks the return of Shorrock and Pellicci after the Farnham period. The album presents a five-piece lineup of Shorrock, Goble, Housden, Nelson, and Pellicci, with John Boylan back as producer. Guest players include percussionist Paulinho da Costa and keyboardists John Capek, Chong Lim, and Jai Winding.

“It’s Cold Out Tonight” quickens on offbeat accents and compact guitar figures. “Parallel Lines” clips through a leaner, quirkier pace. “Love Is a Bridge” steadies the title phrases with grounded lead work and layered backing parts. “Face in the Crowd” brightens into an upbeat compact piece. “Inside Story” shifts the lead to Wayne Nelson. “Son of a Famous Man” puts Glenn Shorrock at the front of a firmer band setting. “Soul Searching” follows the firmer track shape.

1. “It’s Cold Out Tonight” (4:38) – Goble
2. “Parallel Lines” (3:23) – Shorrock, J.C. Crowley
3. “Love Is a Bridge” (4:04) – Goble, Housden
4. “The Rhythm King” (4:25) – Capek, Pellicci
5. “Face in the Crowd” (4:45) – Goble
6. “A Cruel Madness” (4:50) – Goble
7. “Inside Story” (4:40) – Cristol, Goble, Housden, Nelson, Pellicci, Scheibner
8. “Son of a Famous Man” (4:49) – Goble, Housden, Nelson, Pellicci
9. “Soul Searching” (4:22) – Beckett, Shorrock
10. “Great Unknown” (4:56) – Boylan
11. “Shadow in the Rain” (3:56) – Goble

Little River Band recorded Monsoon at Metropolis Audio, Melbourne; Capitol Studios, Hollywood; and Sunset Sound, Los Angeles. John Boylan produced the album with engineer Ian McKenzie. Michael Wickow and Paul Grupp handled additional engineering; Wally Traugott mastered the album.

Monsoon appeared in an MCA sleeve with art direction by J.A. and design by September. The cover presents the band name and title against a storm-toned landscape image.

“Love Is a Bridge” appeared in April 1988, backed with “Inside Story.” The video places Shorrock and the band in direct performance footage with bridge and landscape imagery tied to the title. “Love Is a Bridge” reached No. 6 in Australia and No. 18 on the Billboard Adult Contemporary chart.

In August, “Son of a Famous Man” appeared in Australia, backed with “Lyin’ Eyes” and “Take It Easy,” both credited to Little River Band with Glenn Frey. “Soul Searching” followed in September, backed with “Great Unknown.” In October, MCA issued “It’s Cold Out Tonight” in the United States, backed with “Great Unknown.”

Monsoon reached No. 9 in Australia and No. 49 on Canada’s Top Albums/CDs chart.

Discography: