BIOGRAPHY

Lobby Loyde was born John Baslington Lyde on 18 May 1941 in Longreach, Central Queensland, Australia. He passes away from lung cancer with his favourite black Gibson guitar by his side on 21 April 2007 at Box Hill Hospital in Melbourne, Victoria, Australia.

Her mother was a classically trained pianist, and his father was a jazz trumpeter as a teenager he joined them in country town performances in outback Queensland. He attended Moorooka State School with young Billy Thorpe and both were, bullied in the Queensland state school system. Down the path, they would meet again through music and friendship.

Mick Hadley and Bob Dames both originally came from England and both decided to migrate to Australia in 1963. They both formed a rhythm and blues band The Impacts in Brisbane, Queensland with Scottish-born Fred Pickard including local musicians Barry Lyde from Stilettos and Adrian Redmond in 1964.

The Impacts renamed themselves as The Purple Hearts were raw, exciting and dynamic but no more so than their leader, who was single-handedly exploring the realms of the guitar as a means of aggressive expression. The band relocated from Brisbane to Sydney when Adrian Redmond departed the band and was replaced, by new drummer Tony Cahill. On 23 January 1967 the band issued an official statement to the effect that, since they felt they were not progressing musically and had become stagnant, they had decided to split up.

Bob Dames refers to Barry Lyde as Lobby Loyde he adopted the name. By 1967 he had turned Melbourne’s respected jazz cum rock into a visually charismatic, musically anarchistic and relentlessly experimental rock unit, not unlike Detroit’s Stooges or MC5. Their handful of singles notably “That’s Life” were bizarre excursions into a musical void, which both influenced and amazed peers.

At the beginning of the 70s, Lobby Loyde joined forces on Lead Guitar with ex-teen idol Billy Thorpe, and with classic, The Hoax Is Over album, commenced an entirely new chapter of Australian rock history. After teaching Billy to play the guitar, Lobby returned to a short-lived three-piece lineup of The Wild Cherries.

The debut album Plays with George Guitar in September 1971 with Infinity distributor was Festival Records. Recorded at Festival Studios and produced by Richard Batches. The album title ‘GEORGE’ comes from Les Paul stuck on the body in strips of white tape. The Wild Cherries were reformed as a trio with Teddy Toi on bass, and Johnny Dick on drums for this recording. The album, which kicked off Lobby rose to the unarguable position of guitar hero in every sense of the term. Festival Records re-issued the album as Lobby Loyde on their budget label Calendar Records in 1974.

This album was recorded at a point in his career, arrived at by unleashing the virtuoso talents and brilliant songwriting of this Aussie legend, backed by a monstrous rhythm section, previously with Fanny Adams, which have combined with effect to highlight the genesis of the Lobby Loyde legend. This material has been unavailable for about 25 years unless you were one of the lucky people who switched on enough to have bought this LP when it was originally released.

Features bonus tracks “I Am The Sea (Stop Killing Me)” and “Daily Planet” with assistance from Aztecs, Billy Thorpe and Gil Matthews. Both sides are great, slices of psych-pop with an environmental concern, they are available as bonus tracks on the CD re-issue of this album, which came out on Vicious Sloth Collectables in 1999, thankfully because the original LP is rare). Remaster from the original tapes.

The first various artists compilation album, Australian Rock 71-72 released with Havoc. It features several Havoc artists like Billy Thorpe and the Aztecs, Carson and The Wild Cherries featuring Lobby Loyde. Cover design by Mark Tanner and Sleeve Notes by Lobby Loyde.

The live album Summer Jam was released in November 1973 with Mushroom. Recording and engineered by John French of TCS Sound Studio. The live recording features Lobby Loyde and the Coloured Balls, Billy Thorpe, and Leo de Castro, recorded at the Sunbury 73 Festival on Monday, 29 January 1973. Billy Thorpe sings on “Help Me / Rock Me Baby”.

Digitally Remastered of Lobby’s Last… Summer Jam was re-issued on 14 December 2018 with Aztec Records. With a colour booklet, rare photos and liner notes also previously unreleased, final studio sessions are a must-have for fans of Classic Aussie Rock.

Andrew Fordham had been replaced on guitar by Ian Millar early in the year. Coloured Balls released three singles including “Mess of the Blues” which reached the Top 40 in October. In the same year, Lobby Loyde And The Coloured Balls supported T. Rex on their Australian tour in November 1973.

Coloured Balls’ debut studio album, Ball Power was released in December 1973 with EMI and peaked at #13 on the Go-Set National Top 20 albums chart. Resplendent in skinhead haircuts, The Coloured Balls leaked heart rock havoc from 1971 to 1974, with such mighty powerhouse singles as “Liberate Rock” and “Mess Of The Blues”. Hard guitar rock and proto-punk with some boogie and rock ’n’ roll influences, and some slightly ‘progressive’ lengthier rockers. Unhygienic sings Lobby as it stalks on and on, see the thing with restrained malevolence. Rock or something… or anything like that). Oh well, and it was good the first time (and every time I listen to it).

The songs range from the crunching, melodic hard rock of “Flash” and “Hey! What’s Your Name” to the raw rock ’n’ roll of “Mama Don’t Get Me Wrong” and “Won’t You Make Up Your Mind” (a proto-typical punk ball-tearer at a breathtakingly brief one minute and 32 seconds) and a raucous cover of the Jerry Lee Lewis standard “Whole Lotta Shakin’”. In between, there are the sleazy blues of ‘Something New’ and “BPR” plus progressive, guitar-heavy monsters like “Human Being” and “That’s What Mama Said”. Included as a bonus track is the 16+ minute live version of “GOD (Guitar Overdose)”. Ball Power was digitally remastered and presented in a 6-panel digipak with a 24-page booklet filled with rare photos and liner notes by Ian McFarlane. Re-issued on 4 September 2006 with Aztec Records.

They performed live in 1973 at the newly opened Sydney Opera House, becoming the first rock band to perform there. A third double live album, Steaming At The Opera House, was released in December 1974 with Atlantic. On Rock Set features former members of the Aztecs guitarist Lobby Loyde, drummers Kevin Murphy and drummers, percussion Johnny Dick, the last two on drums, and three drummers playing at once. It’s an all-out noise festival that features favourites like “Time To Live”. “Oop Poo Pa Doo” the Coloured Balls’ classic “God” and a three-way drum solo called “Ball Biter”.

Coloured Balls’ second studio album, Metal Kid was released in 1974 with EMI. A true proto-punk, dynamite, right up there with similar recordings by the likes of the MC5 and the Pink Fairies. The title track, ‘Private Eye’, a mix of growling punkers; (You’re So Square) Baby I Don’t Care,’ ‘Need Your Love’, ’50s rockers; ‘Do It’, ‘Dance To The Music’, hi-energy boogie; ‘Back To You,’ ‘Metal Feathers’, cosmic rock. Even a ballad in there, it’s an eclectic mix held together by its outlaw sense of purpose. Along with, Ball Power, Heavy Metal Kid is the sound of the Sharpie stomp of 1970s Melbourne. The American spelling of Colored Balls for this release. On all other recordings, they were Coloured Balls.

Digitally remastered with 7-bonus tracks is presented in a 6-panel digipak with a 24-page booklet filled with rare photos and liner notes. 2-tracks represent the final studio offering from one of Australia’s greatest bands. Recorded live in the studio in 1975 with engineer and producer Gil Matthews. Re-issued on 4 September 2006 with Aztec Records.

Coloured Balls’ third studio album, The First Supper Last was released in 1976. Recorded at Armstrong Studios, South Melbourne in October 1972 and was originally going to be called Rock Your Arse Off. It didn’t surface until 1976 under the new title The First Supper Last (or Scenes We Didn’t Get To See). The Colored Balls line-up for the album was Lobby Loyde on guitar, keyboards and vocals, Andrew Fordham on guitar, Janis Miglans on bass, Warren Morgan on electric piano, Trevor Young on drums, and Lobby produced the record. Their manager had left Havoc Records at the time after the label fell apart at the time, and secured them a deal with EMI. Colored Balls was signed to EMI in June 1973, it was finally released on vinyl briefly in May 1976.

The tracks are hard-hitting and certainly capture the band’s early promise. The laconic “Time Shapes” and “Working Man’s Boogie” feature first-rate, dirty rock ‘n’ boogie with lashings of humour. A cover of “Johnny B. Goode” by Chuck Berry combines savage playing from lead guitarist Lobby Loyde and originally rhythm guitarist Andrew Fordham. A remark of “Liberate Rock Part 2” is slow and bluesy. Aztec member Warren Morgan played distorted piano through a screwed PA system Loyde found in the studio. “Love Me, Girl Because” is a melodic pop song with chiming guitar riffs.

The album features all the trademarks of Loyde’s aggressive and inventive guitar style that would influence generations of musicians around the world. Kurt Cobain was a fan, as well as Henry Rollins, Pavement, and Stephen Malkmus. The American spelling of Colored Balls for this release. On all other recordings, they were Coloured Balls. The album was, recorded at Armstrong Studios and Lobby Loyde produced the album.

Lobby Loyde’s second solo album, Obsecration was released in May 1976 with Rainbird. One thing is certain his beautiful, at times heavy yet always unique psych-rock guitar work is the main feature throughout. With a solo single, Do You Believe in Magic? / Love Lost on Dream Tides in December 1975. Digitally remastered Obsecration is packaged in a 6-panel digipak and has 6-bonus tracks and many rare photos with liner notes. Re-issued on 28 August 2006 with Aztec Records.

Lobby Loyde: “We recorded Obsecration towards the end of 1975, but we only recorded on full moons over three months”. “See, originally we were gonna call that album Full Moon Fever, but then we thought, ‘oh, it sounds a bit like mountain music, y’ know Kentucky moonshine music’. So then I came up with the title Obsecration sort of intense.”

Lobby Loyde moved to the UK a couple of years ago, sitting in on sessions with the likes of Siouxsie & the Banshees, Roxy Music and The Police, where Virgin showed interest in releasing the album, but with England in the throes of punk music, a deal was never sealed.

The second various artists album, The Australian Guitar Album released in 1979 with Razzle Records. Lobby Loyde contributed to the track John’s Song was instrumental for the album. The song was, recorded at Matrix Studios, London with Lobby Loyde on guitar, Billy Kristian on bass, Paul Dixon on clarinet, flute and sax, Mike Walker on electric piano and clavichord, and Clive Edwards on drums. The song was engineered by Richard Whaley and produced by Lobby Loyde.

Rose Tattoo members Mick Cocks and Geordie Leach took leave of absence, and the band continued as a four-piece with guitar godfather and early seventies’ leader of Melbourne’s infamous Coloured Balls, Lobby Loyde. He returned to Australia in 1979.

“More than anyone else, Lobby helped create the Australian guitar sound. Long before Angus (Young) or Billy Thorpe or the Angels or Rose Tattoo. Lobby inspired Australian bands to step forward and play as loud and aggressively as they could. People are still trying to copy it today” – Angry Anderson (Rose Tattoo).

Briefly joined Rose Tattoo as a bass player and released the single, “Realise Legalise” as part of the campaign to legalise cannabis with Independent label Repeal. Recorded an album in Los Angeles that remains unreleased, Loyde toured with the band from October 1979 to September 1980. Turned his attention to producing other bands, working with the Sunnyboys, Machinations, X, and Painters and Dockers.

The debut album, Live With Dubs was released in October 1980 with Mushroom. Lobby Loyde with Sudden Electric. He formed a new lineup with guitar and synthesizer Lobby Loyde, bass player Gavin Carroll, and drummer Gil Matthews. Radio 2 JJ recorded at the Manly Flicks for a live-to-air broadcast. CD track has special guests Angry Anderson and Mandu. Four bonus live tracks like “GOD”, “Flash”, “Human Being” and “Heartbreak Hotel” rearranged versions of Elvis Presley. Packaged in a 6-panel digipak, with photos and extensive liner notes from noted. Re-issued on 29 May 2006 with Aztec Records.

Lobby Loyde returned to the stage in the ’90s, as the bass player in a short-lived band called Dirt. He formed a new band called Fish Tree Mother. Long Way To The Top tour offers on the table that he reformed the Coloured Balls.

Michael Gudinski organised Telstra Mushroom 25th Anniversary Concert Of The Century on 14 November 1998 was held at Melbourne Cricket Ground. The concert featured 56 acts, including many of the biggest names in Australian music, who performed their hits. Billy Thorpe and Lobby Loyde performed Most People I Know Think That I’m Crazy at the closing.

Billy Thorpe and promoter Michael Chugg are the brainchildren of the Long Way To The Top live concert tour. Which included 26 Australian artists joined together in a massive celebration of homegrown rock ’n’ roll that played all around Australia to 200,000 people. Long Way To The Top featured Australia’s artists Tamam Shud, Russell Morris, Axiom, Lobby Loyde & The Coloured Balls, Spectrum, Chain, Masters Apprentices, John Paul Young, Stevie Wright, Marcia Hines, Marcia Hines, Ross Wilson, Billy Thorpe & the Sunbury Aztecs.

ABC TV recorded off-air Long Way To The Top Live In Concert on 01 December 2002. He performed a medley of G.O.D., Human Being, and Liberate Rock. An inductee into the Australian Blues Foundation Hall of Fame. Australian hard-rockers like Bored!, and the Cosmic Psychos have covered Loyde songs, Human Being and G.O.D (which stands for Guitar OverDose).

Billy Thorpe was inducted into the ARIA Hall Of Fame on 29 October 2006 at Acer Arena, Sydney Olympic Park, NSW. Lobby Loyde performed Liberate Rock, and, his good Billy Thorpe and the Aztecs friend performed a musical tribute to Loyde.

His third album, Beyond Morgia, The Labyrinths of Klimster was released on 14 March 2008 with Aztec Records. Recorded at Armstrong Studios one weekend in June 1976, with the guys from Southern Electric on hand. Lobby had written the music for a Space Rock concept album for a proposed Sci-Fi film, based on his unpublished novel called Beyond Morgia: The Labyrinths Of Klimster. Deluxe 6-panel digipak, featuring bonus tracks, 16-page booklet with photos and liner notes.

The third various artists compilation album, A Tribute To Lobby Loyde, Billy Thorpe And Peter Wells was released on 6 December 2008 with the Support Act. To celebrate the lives of outstanding musicians Pete Wells and Lobby Loyde while they were still with us, Billy Thorpe organised two almighty benefit concerts. “Tribute” is the result. This live 11-track CD with 3-bonus DVD tracks features Richard Clapton, Brian Cadd, Ian Rilen, Noiseworks, Rose Tattoo, Ian Moss, Russell Morris, Spectrum, and Diesel, along with Billy and Lobby. Profits from the sale of Tribute go to Support Act and the families of Lobby, Pete and Billy.

Lobby Loyde remained behind the scene for much of the 80s, before returning to Melbourne stages with supergroup Dirt, an outfit he still performed within the early 90s. Loyde then turned his attention to producing other bands including the Sunnyboys, and Painters and Dockers. He currently performs with Melbourne-based outfit Fish Tree Mother, which plays music for the mind. Lobby loves Sardine, and X. Rilen is one of the great visionaries, the music industry never understood him. He’s a pretty intense guy, there aren’t too many like him.

Lobby comes closer than any other contender to being Australia’s greatest guitar hero. He is one of the few true legends of Australian rock and has used his innovative talent to influence the direction of music in this country.


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