Beasts of Bourbon
Beasts of Bourbon are an Australian alternative rock, blues rock band formed in August 1983, with James Baker on drums, Spencer P. Jones on guitar, Tex Perkins on vocals, Kim Salmon on guitar and Boris Sujdovic on bass guitar. Except for mainstays Jones and Perkins, the line-up has changed as the group splintered and reformed several times, their debut album, The Axeman's Jazz, was the best selling Australian alternative rock album of 1984. Their debut single, "Psycho", is a cover version of the Leon Payne original, was the best selling Australian alternative rock single for that year; however the group disbanded by mid-1985 and each member pursued other musical projects. They issued a second album, Sour Mash, in December 1988 on Red Eye Records. According to rock music historian, Ian McFarlane, it "virtually redefined the parameters of guitar-based rock'n'roll; the Cramps-influenced swamp-rock of old had been discarded for a more adventurous slab of gutbucket blues and avant-garde weirdness.
Perkins' voice had matured into an authentic blues growl". Their fifth studio album, reached the Top 50 ARIA Albums Chart, their seventh studio album, Little Animals on Albert Productions, which peaked into the Top 50. Beasts of Bourbon were formed in August 1983 by vocalist Tex Perkins to fulfil bookings for his previous band, Tex Deadly and the Dum-Dums, began playing in small Sydney venues; the initial version of the group was James Baker of Hoodoo Gurus on drums, Spencer P. Jones of The Johnnys on guitar, Kim Salmon on guitar and Boris Sudjovic on bass guitar: both of The Scientists; this line-up was featured on the band's first album, The Axeman's Jazz, recorded during October 1983 in a single eight-hour session for $100 by Tony Cohen. In 1983 Richard Ploog joined the band for a short time on drums as a side project. In January 1984 the line-up of Jones, Sujdovic, Brett Rixon on drums and Tony Thewlis on guitar played gigs in Perth. In July that year the album was issued on Green Records and according to Australian rock music historian, Ian McFarlane, "it remains a classic of Australian garage/swamp rock.
It was the best-selling Australian alternative album for 1984. It went on to sell over 30000 copies in Europe". A cover of Leon Payne's "Psycho" was issued as a single in July, a hit on alternative radio and became the best selling Australia alternative single for 1984; the previous line-up fell apart in March. By early 1985 the line-up of Baker, Perkins and Spencer, were joined by Graham Hood on bass guitar. Although the album became an underground success, the band was a side project for its various members and Beasts of Bourbon disbanded by June that year. Perkins worked with Salamander Jim and various other projects, Jones had The Johnnys, Salmon and Sujdovic had The Scientists. Baker tried a self-named group, The James Baker Experience, backed by Perkins and Spasm and joined by Roddy Radalj on guitar and vocals; the ensemble promptly separated. In March 1988 Beasts of Bourbon reconvened after The Scientists had disbanded; the line-up of Baker, Perkins and Sujdovic recorded Sour Mash with audio engineer and producer, Phil Punch.
The album appeared in December on Red Eye Records, with McFarlane declaring that it "virtually redefined the parameters of guitar-based rock'n'roll. The Cramps-influenced swamp-rock of old had been discarded for a more adventurous slab of gutbucket blues and avant-garde weirdness. Perkins' voice had matured into an authentic blues growl". Allmusic's Skip Jansen found " raw blues-rock album with post-punk afflictions... dream come true for fans of the Australian rock and garage punk... the blistering slide-guitar-driven sound, the band does a fine job of re-creating the sound of a twisted night out at the pub". Their cover of "Hard Work Drivin' Man" was issued as a single in November, which became a number-one independent hit single. In August 1989 they followed up with another independent number-one single, "Hate Inside", written by Jones and Perkins. By that time, Perkins was performing irregularly as a member of The Cruel Sea. Beasts of Bourbon toured Europe and released a third album, Black Milk, in July 1990.
Jansen was disappointed "it pales by comparison to the two previous albums" although it was "a fine album of lurching blues-driven rock". In Germany they issued a non-album single, "You Let Me Down" / "Blanc Garçon", the tracks appeared on the German version of the album, Jansen felt these "two cuts surpass anything on ". By February 1991, Baker and Sujdovic were replaced by Brian Henry Hooper on bass guitar and Tony Pola on drums – both from Salmon's new band, The Surrealists. Beasts of Bourbon undertook their Kick Arse Australian tour; the line-up of Hooper, Perkins and Salmon recorded the group's fourth album, The Low Road, with Tony Cohen producing. McFarlane saw it was "brimming with urgency, atmosphere, myth and honesty, but above all, hard-nosed rock riffs". While Jansen described their "straighter, less garage punk sound" although "it proved a little tough to get the live energy of a performance to tape"; the Low Road featured "Chase the Dragon" – which relates to heroin smuggling – a "blistering... nefarious de
The Canberra Times
The Canberra Times is a daily newspaper in Canberra, published by Fairfax Media part of Nine Entertainment Co.. The Canberra Times was launched in 1926 by Thomas Shakespeare along with his oldest son Arthur Shakespeare and two younger sons Christopher and James; the newspaper's headquarters were located in the Civic retail precinct, in Cooyong Street and Mort Street, in blocks bought by Thomas Shakespeare in the first sale of Canberra leases in 1924. The newspaper's first issue was published on 3 September 1926, it was the second paper to be printed in the first being The Federal Capital Pioneer. Between September 1926 and February 1928, the newspaper was a weekly issue; the first daily issue was 28 February 1928. In June 1956, The Canberra Times converted from broadsheet to tabloid format. Arthur Shakespeare sold the paper to John Fairfax Ltd in 1964, on the condition that it continue to advocate for Canberra. Soon after, in July 1964, the format was switched back to broadsheet and printing was moved to Fairfax's newly installed press in Fyshwick.
Offices remained open in the civic retail precinct until April 1987 when The Canberra Times moved its entire operation to the new office of The Federal Capital Press of Australia in Fyshwick. The paper was sold to Publishing and Broadcasting Limited, which in turn sold it to Kerry Stokes in 1989 for $110 million. Rural Press Limited bought the paper from Stokes in 1998 for $160 million; the Times rejoined the Fairfax stable in 2007. The paper first went online on 31 March 1997. In 2008, The Canberra Times printed a formal apology after the paper published an essay in which Irfan Yusuf falsely accused American historian Daniel Pipes of suggesting that Muslims deserved to be slaughtered as Jews were during the Holocaust. On 17 October 2008, The Canberra Times was distributed with a sticker advertising the ACT Labor Party on the front page. Complaints about the sticker prompted Ken Nichols, to issue an explanation. In October 2013, Fairfax Media announced that The Canberra Times would be restructured to join the Australian Community Media Group of regional and community newspapers, shifting from the metropolitan news division of Fairfax.
A new editorial leadership team was appointed in November 2015, with Grant Newton as editor of the newspaper and Scott Hannaford as deputy editor and news director. In March 2016, staff at the newspaper were told there would be a restructure at The Canberra Times and that the paper would move from a broadsheet format to a tabloid. Fairfax Media announced they would be cutting 12 jobs from the newspaper's staff; the paper's editors have included Jack Waterford and Michelle Grattan, the first female editor of a metropolitan daily newspaper in Australia. A recent editor-in-chief, Peter Fray, left in January 2009 to edit The Sydney Morning Herald, he was succeeded by Rod Quinn, who announced the formation of a new senior editorial team in 2012. Editorial cartoonists have included David Pope and Pat Campbell. List of newspapers in Australia The Canberra Times The Canberra Times at Trove
Red Eye Records (label)
Red Eye Records was an independent record label started in 1985 in the rear of the pre-existing record store of the same name in Sydney, Australia. It had Third Eye. In 1990 the label entered a joint venture arrangement with [Polydor Records|to expand the label’s distribution and exposure; the joint venture between the Red Eye Record Label and Polydor concluded at the end of 1996 with Red Eye MD John Foy retaining the label name and company structure. Polydor declined further options on most of the Red Eye recording Artists retaining only The Cruel Sea. Polydor was absorbed by the Universal Music Group who failed to maintain much of Red Eye’s past catalogue. From its inception in 1985 to cessation at end of 1996 the Red Eye Record Label was owned and managed by graphic designer John Foy. A detailed history of Red Eye / Black Eye Records & Foy’s graphics was published as 252 page large format book titled ‘Snaps, Pop!’ In October 2018. The logo appearing on this page is the logo for the still-existing Sydney record retailer Red Eye Records - the Label logo was differentiated by a ring of type encircling the eyeball.
According to Australian musicologist, Ian McFarlane, "Sadly, as alternative became mainstream, one-time leaders in the field like Red Eye and Dogmeat shut down operations in 1996." James Baker Experience Beasts of Bourbon The Bhagavad Guitars The Clouds The Cruel Sea The Crystal Set Curious Deniz Tek Drop City Jack Frost Growl Spencer P. Jones Kaempfert Zone John Kennedy's Love Gone Wrong Steve Kilbey Mexican Spitfires Mixed Relations Radio Birdman Kim Salmon and the Surrealists The Scientists Tall Shirts Tex, Don & Charlie Louis Tillett & Charlie Owen The Verys Ya Ya Choral Red Eye Records General Specific Red Eye Records label discography
National Library of Australia
The National Library of Australia is the largest reference library in Australia, responsible under the terms of the National Library Act for "maintaining and developing a national collection of library material, including a comprehensive collection of library material relating to Australia and the Australian people." In 2012–13, the National Library collection comprised 6,496,772 items, an additional 15,506 metres of manuscript material. It is located in Parkes, Canberra, ACT; the National Library of Australia, while formally established by the passage of the National Library Act 1960, had been functioning as a national library rather than a Parliamentary Library since its inception. In 1901, a Commonwealth Parliamentary Library was established to serve the newly formed Federal Parliament of Australia. From its inception the Commonwealth Parliamentary Library was driven to development of a national collection. In 1907 the Joint Parliamentary Library Committee under the Chairmanship of the Speaker, Sir Frederick William Holder defined the objective of the Commonwealth Parliamentary Library in the following words: The Library Committee is keeping before it the ideal of building up, for the time when Parliament shall be established in the Federal Capital, a great Public Library on the lines of the world-famed Library of Congress at Washington.
The present library building was opened on 15 August 1968 by Prime Minister John Gorton. The building was designed by the architectural firm of Bunning and Madden in the Late Twentieth Century Stripped Classical style; the foyer is decorated in marble, with stained-glass windows by Leonard French and three tapestries by Mathieu Matégot. The building was listed on the Australian Commonwealth Heritage List on 22 June 2004. In 2012–13 the Library collection comprised 6,496,772 items, with an estimated additional 2,325,900 items held in the manuscripts collection; the Library's collections of Australiana have developed into the nation's single most important resource of materials recording the Australian cultural heritage. Australian writers and illustrators are sought and well represented—whether published in Australia or overseas; the Library's collection includes all formats of material, from books, journals and manuscripts to pictures, maps, oral history recordings, manuscript papers and ephemera.
92.1% of the Library's collection has been catalogued and is discoverable through the online catalogue. The Library has digitized over 174,000 items from its collection and, where possible, delivers these directly across the Internet; the Library is a world leader in digital preservation techniques, maintains an Internet-accessible archive of selected Australian websites called the Pandora Archive. The Library collects material produced by Australians, for Australians or about the Australian experience in all formats—not just printed works—books, newspapers, posters and printed ephemera—but online publications and unpublished material such as manuscripts and oral histories. A core Australiana collection is that of John A. Ferguson; the Library has particular collection strengths in the performing arts, including dance. The Library's considerable collections of general overseas and rare book materials, as well as world-class Asian and Pacific collections which augment the Australiana collections.
The print collections are further supported by extensive microform holdings. The Library maintains the National Reserve Braille Collection; the Library houses the largest and most developing research resource on Asia in Australia, the largest Asian language collections in the Southern hemisphere, with over half a million volumes in the collection, as well as extensive online and electronic resources. The Library collects resources about all Asian countries in Western languages extensively, resources in the following Asian languages: Burmese, Persian, Japanese, Korean, Manchu, Thai and Vietnamese; the Library has acquired a number of important Western and Asian language scholarly collections from researchers and bibliophiles. These collections include: Australian Buddhist Library Collection Braga Collection Claasz Collection Coedes Collection London Missionary Society Collection Luce Collection McLaren-Human Collection Otley Beyer Collection Sakakibara Collection Sang Ye Collection Simon Collection Harold S. Williams Collection The Asian Collections are searchable via the National Library's catalogue.
The National Library holds an extensive collection of manuscripts. The manuscript collection contains about 26 million separate items, covering in excess of 10,492 meters of shelf space; the collection relates predominantly to Australia, but there are important holdings relating to Papua New Guinea, New Zealand and the Pacific. The collection holds a number of European and Asian manuscript collections or single items have been received as part of formed book collections; the Australian manuscript collections date from the period of maritime exploration and settlement in the 18th century until the present, with the greatest area of strength dating from the 1890s onwards. The collection includes a large number of outstanding single items, such as the 14th century Chertsey Cartulary, the journal of James Cook on the HM Bark Endeavour, inscribed on t
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
The Church (band)
The Church, an Australian psychedelic rock band, formed in Sydney in 1980. Associated with new wave, neo-psychedelia and indie rock, their music came to feature slower tempos and surreal soundscapes reminiscent of dream pop and post-rock. Glenn A. Baker has written that "From the release of the'She Never Said' single in November 1980, this unique Sydney-originated entity has purveyed a distinctive, psychedelic-tinged sound which has alternatively found favour and disfavor in Australia." The Los Angeles Times has described the band's music as "dense, exquisite guitar pop". The founding members were Steve Kilbey on lead vocals and bass guitar, Peter Koppes and Marty Willson-Piper on guitars and Nick Ward on drums. Ward played onlyon their debut album, the band's drummer for the rest of the 1980s was Richard Ploog. Jay Dee Daugherty played drums from 1990 to 1993, followed by "timEbandit" Tim Powles, who remains with them to the present day. Koppes left the band from 1992 to 1997, Willson-Piper left in 2013.
Ian Haug of Powderfinger, replaced him. Kilbey and Powles recorded together as The Refo:mation in 1997; the Church's debut album, Of Skins and Heart, delivered their first radio hit, "The Unguarded Moment", they were signed to major labels in Australia and the United States. However, the US label, dissatisfied with their second album, dropped the band without releasing it; this put a dent in their international success, but they returned to the charts in 1988 with the album Starfish and the US Top 40 hit "Under the Milky Way". Subsequent mainstream success has proved elusive, but the band retains a large international cult following and were inducted into the ARIA Hall of Fame in Sydney in 2010; the Church continue to tour and record, releasing their 25th studio album, Man Woman Life Death Infinity, in October 2017. Singer and bass guitarist Steve Kilbey first played with guitarist Peter Koppes in a glam rock band called Baby Grande in Canberra, Australia in the mid-1970s. After each had left to travel and play in other bands including Tactics and Limazine, they met again in Sydney in March 1980 and formed the initial three-piece version of The Church, with Limazine drummer Nick Ward.
The name was a shortened version of the original name proposed by Kilbey: "The Church of Man". A month Marty Willson-Piper from Liverpool, United Kingdom, witnessed one of their gigs and met Kilbey afterwards; that same night he was invited to join the band on guitar, establishing the classic two guitar formation. A four-song demo was recorded in Kilbey's bedroom studio and sent, through contacts from his and Koppes's old band Baby Grande, to the Australian branch of The Beatles' publishing company, ATV Northern Songs; the song "Chrome Injury" attracted the attention of managing director Chris Gilbey, who signed the band to his formed record production company, in association with EMI and their resurrected Parlophone label. Gilbey went to band rehearsals and helped shape their sound – he bought Willson-Piper a 12 string Rickenbacker guitar and equipped Koppes with an Echolette tape delay. Of that first batch of demos, only "Chrome Injury" would go on to be recorded for release; the band's debut album, Of Skins and Heart, was recorded late in 1980, produced by Gilbey and mixed by Bob Clearmountain.
Seven of the nine tracks were written by Kilbey and two co-written with others. The first single, "She Never Said", did not chart. At the start of 1981, Ward was replaced on drums by Richard Ploog, he was recruited by Michael Chugg, after hearing of his reputation in Adelaide. Ploog's arrival established The Church's first stable line-up; the second single "The Unguarded Moment", co-written by Kilbey and Michelle Parker, was issued alongside the album in March 1981, but only in Australia initially. "The Unguarded Moment" became an Australian top forty hit, reaching No. 22 on the Australian Kent Music Report Singles Chart, while Of Skins and Heart went gold, achieving the same position on the related Albums Chart. To promote their releases, the band undertook their first national tour; the first recordings with Ploog were released as a five-track double 7" EP, Too Fast for You, in July. It included the first collectively written track, "Sisters". Another track, "Tear It All Away" released as a separate single, showed a development towards the more elaborate guitar structures which would become part of their signature sound.
Their image and sound now evoked comparisons with 1960s psychedelic groups, with tight jeans, paisley shirts and Byrds-style jangly guitars. Of Skins and Heart's commercial success enabled Gilbey to present the release to Freddie Cannon of French label Carrere and Rupert Perry of U. S. label Capitol. Both labels released the album in 1982, renaming it The Church and altering the track listing to include songs from Too Fast for You and using a crop of that EP's artwork as the cover; the Church peaked at No. 13 in Sweden. Ploog was incorrectly credited as the sole drummer on the release, despite only playing on one or three tracks, depending on the version. Capitol released an edited single version of "The Unguarded Moment", without the band's approval; the second album, The Blurred Crusade, was issued in March 1982 and was both produced and mixed by Bob Clearmountain. Sonically and stylistically more complex than the debut, it is "a smoother, fuller release", which showed the clear influence of 1960s psychedelia.
"With its mystical lyrics the second album... brought the group's own style more into focus". The album peaked at No. 10 and its first single, "Almost With You" resulted in