An all inclusive Hunters and Collectors studio ‘best of’, spanning their entire back catalogue and released by Liberation Records in 2003. Released in one CD, DVD and limited edition two CD formats.

Released In: [Australia / NZ].

Release Date: 2 CD: 13 October 2003. 1 CD: 19 April 2004. DVD: 24 November 2003.

Australian Chart Position: CD: #40 (ARIA). DVD: [Did Not Enter].

Availability: Extremely common. Available new in CD, DVD and digital forms.

Value: A$15-A$36.

 

Greatest Hits

Information: Reissue of 2004 Natural Selection CD and 2003 Natural Selection DVD in a two disc pack.

Released In: [Australia / NZ].

Release Date: 21 October 2011.

Australian Chart Position: #217 (ARIA).

Availability: Moderately common. Available new in CD/DVD and digital forms.

Value: A$15-A$30.

 

Track Listing(s)

Legend:

 Commercial single.
 Promotional single.

 

Version: Liberation Records Australian one CD album.

Natural Selection. Total CD album length: 66 minutes, 23 seconds.

Natural Selection. ReplayGain loudness: -10.02dB (2003).

1. Talking To A Stranger
2. Carry Me 
3. The Slab 
4. Say Goodbye
5. Everything’s On Fire 
6. Is There Anybody In There? 
7. Back On The Breadline 
8. Do You See What I See?
9. When The River Runs Dry
10. Blind Eye 
11. True Tears Of Joy 
12. Where Do You Go? 
13. Back In The Hole 
14. Holy Grail
15. Throw Your Arms Around Me (live)

 

Version: Liberation Records Australian two CD album.

Natural Selection. CD 1 album length: 66 minutes, 23 seconds. See above.

Unnatural Selection. CD 2 album length: 74 minutes, 46 seconds.

Unnatural Selection. ReplayGain loudness: -9.16dB (2003).

1. The Finger
2. Skin Of Our Teeth
3. World of Stone
4. Little Chalkie (live)
5. Towtruck
6. I Couldn’t Give It To You
7. What’s A Few Men?
8. Stuck On You
9. This Morning
10. Dog
11. January Rain
12. The One and Only You 
13. Hear No Evil
14. Debris
15. Wasted In The Sun
16. True Believers

 

Version: Liberation Records/Warner Vision Australian DVD video (all region, PAL).

DVD Audio: LPCM 2.0, Dolby Digital 2.0.

Video length: 104 minutes, 0 seconds.

ReplayGain loudness: -7.14dB (LPCM 2.0 2008).

1. Talking To A Stranger
2. Lumps of Lead 
3. Judas Sheep 
4. The Slab
5. Carry Me (live)
6. Say Goodbye
7. Throw Your Arms Around Me (1986) 
8. Everything’s On Fire 
9. Is There Anybody In There? 
10. Do You See What I See? 
11. Still Hanging ‘Round 
12. Back On The Breadline 
13. When The River Runs Dry
14. Blind Eye 
15. The Way You Live 
16. Throw Your Arms Around Me (1990) 
17. Where Do You Go? 
18. Head Above Water 
19. We The People 
20. True Tears Of Joy
21. Holy Grail
22. Easy 
23. Panic In The Shade
24. Back In The Hole 
25. Debris 

 

Version: Liberation Records Australian CD and DVD (all region, PAL) album.

Greatest Hits. CD album length: 66 minutes, 23 seconds. See above.

Greatest Hits. DVD length: 104 minutes, 0 seconds.

DVD Audio: LPCM 2.0, Dolby Digital 2.0.

 

 

Original studio source of the songs on these compilation albums:

• World Of Stone EP (attached to most Hunters And Collectors CD’s) contains:
  • World of Stone
• Hunters And Collectors contains:
  • Talking To A Stranger
  • Skin Of Our Teeth
• Payload EP (attached to most The Jaws Of Life CD’s) contains:
  • Towtruck
  • Lumps of Lead
• The Fireman’s Curse contains:
  • Judas Sheep
• The Jaws Of Life contains:
  • Carry Me
  • The Slab
  • Chalkie
  • I Couldn’t Give It To You
• Human Frailty contains:
  • Say Goodbye
  • Everything’s On Fire
  • Is There Anybody In There?
  • Throw Your Arms Around Me
  • The Finger
  • Stuck On You
  • This Morning
  • Dog
• Living Daylight EP (attached to most Human Frailty CD’s) contains:
  • January Rain
• Fate / What’s A Few Men? contains:
  • Back On The Breadline
  • Do You See What I See?
  • Still Hanging ‘Round
  • What’s A Few Men?
• Ghost Nation contains:
  • When The River Runs Dry
  • Blind Eye
  • The Way You Live
• Cut contains:
  • True Tears Of Joy
  • Where Do You Go?
  • Holy Grail
  • Hear No Evil
  • Head Above Water
  • We The People
• Demon Flower contains:
  • Easy
  • Panic In The Shade
  • Back In The Hole
  • The One and Only You
• Juggernaut contains:
  • Wasted In The Sun
  • True Believers
• Mutations contains:
  • Debris (originally on the Drop In The Ocean single)

 

Review

Note: The Natural Selection DVD in the Horn of Plenty box set is remastered. All other versions are not remastered.

Below is the official blurb from Liberation Records on the limited edition 2 CD release:

The only Hunters & Collectors studio compilation that covers their entire career.

Pure power has a name – Hunters & Collectors. The most powerful band in Australian history return with Natural Selection, an all new Greatest Hits set that comprehensively covers their remarkable 15 year career for the very first time. From the avant garde rumblings of Talking To A Stranger and The Slab to the pop heights of Holy Grail and When The River Runs Dry, the matchless Hunters & Collectors will always remain in a league of their own.

Natural Selection comes with a limited edition bonus disc of essential Hunters tracks that weren’t singles. Not to be confused with a disc of B sides and obscurities, the accompanying CD Unnatural Selection brings together 16 Hunters favourites, including their remarkable version of The Small Faces’ ‘Debris’, one of the few covers in their incredible body of work. Digitally remastered and with all new liner notes by Mark Seymour, Natural Selection belongs in the home of every fan of Australian music.

 

True Believers Internet site comments on the making of Natural Selection:

Determining the track listings for these releases was a big exercise in ‘know your product’. The ‘best of’ had to be easy on the ears of new fans, satisfying and representative to the band and fans, while not replicating the old “Collected Works” album. Fan perspectives gathered by True Believers were taken into account in the creation of these compilation releases.

The DVD version of “Natural Selection” was where fan desires were absolutely clear – we wanted all video clips in existence on the compilation. This concept almost goes against tradition, where usually some clips are left off the collection to the disdain of us more obsessed music fans. Through close consultation with Liberation Records, management and the band, we encouraged everyone we could to make the DVD a comprehensive collection of studio video clips (of which there are 23 in total). After much consideration, this was the format that Liberation Records decided to go for, much to our delight.

We had access to the first two draft track listings of the ‘Natural Selection’ and ‘Unnatural Selection’ CD’s from Rob Miles, who was organising the track listings. The first draft was the result of initial formation by Rob and discussions with Mark (and a couple of others). The second draft included changes from fan views and more general discussion. The final version was the result of consultation with band members and anyone with a stake in the album. Below we review the differences between the drafts and the final version, for those who are interested…

The first draft of “Natural Selection” included “42 Wheels”, “Inside A Fireball”, “Head Above Water” and “Still Hanging ‘Round”. However, it did not contain “Carry Me”, “Everything’s On Fire”, “Back In The Hole” and “Back On The Breadline”. We encouraged “Carry Me” above “42 Wheels” because “Carry Me” was a single (hence more ‘natural’) and is easier on the ears of the new fans which will purchase this album. We encouraged the inclusion of a song off the “Demon Flower” and “Juggernaut” albums and were able to get “Back In The Hole” (from “Demon Flower”) included. We encouraged “Back On The Breadline” to be included because it was top 40, is one of their best known songs outside of Australia and was not on “Collected Works” (this is a contentious issue). We were uncertain on “Head Above Water”, since there were three songs from the “Cut” album included already and new fans may be scared by the song.

The first draft of “Unnatural Selection” included “Alligator Engine”, “I Believe”, “Relief”, “Faraway Man”, “Back On The Breadline”, “Back In The Hole” and “Good Man Down”. It did not include “Skin Of Our Teeth”, “World Of Stone”, “I Couldn’t Give It To You”, “This Morning”, “Towtruck”, “Hear No Evil” and “Wasted In The Sun”. We encouraged either “Wasted In The Sun” or “Higher Plane” above “Good Man Down” and were able to get “Wasted In The Sun” elevated. Rob was wavering between “I Couldn’t Give It To You” and “I Believe”, and we encouraged the former because there were already two covers on this disc and it is a bigger and stronger song (this is a contentious issue). We encouraged a number of fan favourites, including “Under The Sun” and “Imaginary Girl”, and were successful in lifting “Hear No Evil” to the album. We encouraged the inclusion of a song off “The Fireman’s Curse” album (particularly “Sway”) but this was not even open to discussion. We were slightly troubled by the amount of material from “Human Frailty” compared to other albums.

The second draft of “Natural Selection” was only slightly different to the final version, including “Still Hanging ‘Round” but leaving “Everything’s On Fire” out. We supported “Still Hanging ‘Round” being included and were not keen on “Everything’s On Fire”, since it was on “Collected Works” and, well, there is better (“Inside A Fireball”?). The band clearly out ruled us on this one.

The second draft of “Unnatural Selection” included “Alligator Engine” and “Relief” but did not include “Skin Of Our Teeth”, “World Of Stone”, “This Morning” and “Towtruck”. These changes were clearly from band feedback. We suspect Jack got “Towtruck” in the listing (it is one of his favourite Hunna’s songs). It is interesting to note that band consultation brought the ‘selection’ albums closer to “Collected Works”, indicating band tastes and preferences have not changed much in the years between.

 

Liner Notes

[Two CD version]

Mark Seymour’s liner notes:

They were a difficult mob. Their music was impossible to categorise. They were a band with no image and a really good name.

Live, Hunters and Collectors was a monster.

A really ordinary looking bunch of blokes would amble onto the stage and immediately start blasting out a kind of rock that was both angry and melancholy at the same time, on a symphonic scale. The production was spectacular. They delivered a level of sonic majesty few other Aussie bands ever reached. A ‘Hunters’ gig became known for its concert-like proportions, served up at your local R.S.L. club. Its live reputation became the band’s image. It consumed everything else. Perhaps because of this, its contribution to our cultural history has never been fully understood. The band’s artistic legacy was overshadowed by its live reputation. But the fact is that Hunters and Collectors distilled an epic version of Australian life. They played songs about its sadness, its hypocrisy and its beauty.

In the early years, the band’s artistic relentlessness was deemed by critics to be ‘iconoclastic’ and ‘eclectic’, but as the years went by, and the band kept touring, media attention wavered. In a way, this might well have ushered in an natural process of decline, as it does for most bands, but not for Hunters and Collectors.

The notion of being ‘independent’ literally meant just that; being completely independent of all hyperbole and artificial leverage, normally cultivated through ‘social’ relationships with radio program directors and boutique rock journalists. Quite simply, the band disregarded the waning of its ‘cool’ image because it believed it’s future lay in the popularity it enjoyed among ordinary Australians.

For the critics it became increasingly difficult to get a ‘handle’ on what Hunters represented, because, on the one hand, though their songs were often critical of Australian culture, their live audience appeared to be solely interested in a ‘good time’ and nothing else. The band appeared to be encouraging the mindless hedonism it claimed to be so critical of in its music.

After all, to get the full dose of what was on offer, you had to be prepared to squeeze into an overcrowded room, filled with cigarette smoke, and rub shoulders with ordinary people who roared the choruses at the top of their voices. The gig experience was neither subtle nor comfortable and, (shock horror), ever so slightly Bogan. Form ‘arthouse’ beginnings, Hunters became part of mainstream Australian culture. For some, this was unforgivable.

Towards the end, when retirement had been announced, the ‘smarter’ journalists thought it might be interesting to try and ‘crack the code,’ to find out what made the band tick… the human interest stuff. But the boys were a shy, unglamorous lot, a fact that they knew only too well. Ultimately, little was revealed.

In a strange way, their image was bound up with their anonymity. That, combined with their lack of musical pretension, was what made them so intriguing. Simply put, they didn’t sound American or English or a cocktail of either.

Their sound made them different and in the end, their sound was all they really had.

The eighties is often looked upon as an insipid, up beat, friendly sort of time, when every one was trying to get rich and Australia was opening up to the outside world. Hunters and Collectors flourished in that era despite the fact that their songs told a different story. Australia wasn’t quite the Garden of Eden it was cracked up to be; suburban life was tragic; politicians – the ones they didn’t vote for – were liars, and most popular music was sanitised and written solely for profit. Well at least the fundamentals haven’t changed! The optimism of those times seems laughable now.

The decade became littered with bands who ‘almost made it’, bands that should never have seen the light of day, inner city bands who refused to compromise their art and bands that simply stayed on too long. There were power pop bands, art bands, new romantic bands, one-too many-bands and political bands… and Hunters and Collectors. They were the next big thing that ‘never quite got there’, wherever that was. They were a pub band that got big tastefully, in a decade of big hair, big money and really bad taste.

When most bands faltered through the sheet mind-numbing familiarity of it all, Hunters and Collectors simply kept going. Even in the early nineties, when the risk of over exposure and little radio support should have told them to back off, their anonymity actually started to work for them in a new and untested way. The crowds kept growing. There seemed to be no end to it.

Today, the musical legacy of Hunters and Collectors has been mythologised by the very fact of the band’s absence. There seems to be an awareness of the band now that is arguable more palpable than it was when it was still touring. After all, despite their struggle with chart success, Hunters and Collectors were, in the parlance of the music business, ‘bloody huge’.

(It is probably worth pointing out to some, who may have missed the announcement, that the band retired in 1998.)

They were accused of being arrogant and aloof. Perhaps that was true to some extent, but the Hunters held to the simple belief that you should be able to express what you think and how you feel, to be truthful, and get paid for it. They knew that these values were a rare commodity in the music business, as they are in most walks of life, and they needed to be protected, even if it meant being tagged as ‘difficult’.

The beautiful thing about Hunters, is that in the end, despite all their foibles, they wrote a crucial chapter in the history of Australian music. They survived for almost twenty years, and in that time their songs become synonymous with a certain gutsy, no bullshit attitude.

Hunters believed in having a go.

 

Disc 01 Natural Selection

01 Talking To A Stranger. Started with a bass line. Recorded it with a drum machine onto cassette and Geoff Crosby, the original synth player, noodled over it through the lounge room stereo. Much of the early Hunters ‘sound’ was consolidated with this song. Crosby’s dying animal noises, Perano’s wang, and Jack Howard’s first major brass arrangement all intersected for the first time. The lyrics were loosely based on the ‘The Albatross’ by Charles Baudelaire. Lofty stuff. Apocalyptic dread. The end was nigh.

02 Carry Me. The first drinking song. Having languished in London for too long, we came home to cheer up and start writing again. Nevertheless, the taste of English beer has lingered. Unforgettable.

03 The Slab. Drinking, oral sex fantasy, Jon Archer’s strident bass run. 1983, in Germany and we were revelling in the idea that we didn’t have to be artistically pretentious anymore. Doing the autobahn in a hired Mercedes, 225 kmh. Totally legal. The first Hunters road stories were written then. There was a sense of relief. We were writing the album we would tour with. In Australia. The band was smaller. The energy was simple and direct.

04 Say Goodbye… based on a real conversation heard through a wall. A woman was telling her lover that he wasn’t doing her justice. I was drawn to the plight of whoever he was. Sadly, as I grew up, I realised that all men must face the wrath of a woman’s scorn alone.

05 Everything’s On Fire. A hymn to love going wrong… very quickly. The guy’s outside with a jerry can full of hero, and murder in his heart… not a how to. Banned from Countdown.

06 Is There Anybody In There? Television is evil. Like alcohol and penicillin, it can be beneficial if taken in moderation, but is always lethal in large doses. Few can avoid its addictive pleasures. It is the purveyor of lies and deceit in every family home, and the poor victims of its toxic messages are hypnotised by the elegance of its pictures. They are waiting in line right now, in the McDonalds dive through just of Glenhuntly road, Elsternwick.

07 Back On The Breadline. This song spearheaded the North American campaign of 1987. We were signed to I.R.S. records, and ‘What’s A Few Men?’ would’ve been our second album with them. Unfortunately they couldn’t hear a single. Stoically, we wrote more. ‘Breadline’ was one amongst several which went on a compile with the best of the rest from the ‘What’s A Few Men?’ album. Oh, and they didn’t like the title of the album either. So we changed that too. We called this American record ‘Fate’.

Now all this feverish activity might sound like a torturous exercise in overkill. Some of the boys definitely thought so. Well, they were right, except that at the time we were gagging to crack it over there, and to be honest, we truly believed that all the polishing and manipulation would seriously make a difference. I could have sworn this song had ‘hit’ written all over it. How wrong can you be? Just before getting on the place, standing at the terminal gate, waiting to fly home after I’d been to what felt like every radio station in north America promoting the track, the managing director of the record company asked me, in all seriousness, “Hey young Fella, can you tell me, exactly hat is ‘the breadline’?”

08 Do You See What I See? Pekeha micacle home, Mt. Hobson backyard vista, Aoteroroa tea-towel, Steinlager shower, All Black Disgrace, Coromandel safehouse, amphetamine headhunters, popstar postage stamp, Sweethwater outrage, God’s own weekender, Dunedin underground, Look Blue Go Purple, South Pacific Sunday hangi, the last moa.

09 When The River Runs Dry. Middle class excess and the end of the world. Sydney travelogue. Rampant greed. The decline of western civilisation. The clip was one of those eighties monsters… bigger than Ben Hur and with a budget to match the theme. We strong armed the produces and got it made for half the original fee. The director was an anarchist.  Drove 1970 Valiant soft top with a 454 cubic inch V8. No drivers licence. Chain coke drinker. He devised a clip which investigated, fairly loosely, the encroaching effect of surveillance on our daily lives, and yet still managed to accompany this pithy message with images of very attractive women engaged in a range of activities, from champagne drinking on the north shore to hanging out clothes on a Hills hoist in Parramatta.

10 Blind Eye. Stale croissants, strawberry jelly, weak tea, diesel exhaust, cold feet, illegal aliens, Gary Glitter’s sky blue g-string, silk cuts and warm lager, New Musical Express, Thatcher, Kajagoogoo, blue pyramids, the union jack, the British sneer, man wanted, ex-west end theatre lady with a gammy knee, Brick Lane, skins, race riots, nuclear chaos, the clogged sink in Earls Court, stank like rotten fry, cheating the underground, celibacy, delusions of grandeur…

11 True Tears Of Joy. She’s standing at the gate about to depart for Tokyo to pursue dubious employment. She doesn’t want to go, doesn’t know why she’s going, runs off… tears streaming down her face. Hardly joyous. That came later.

12 Where Do You Go?. Some people are compelled by a deep inner need to go opportunity shopping. It can become highly addictive. There are second hand stores everywhere, full of potential bargains. They are quiet restful places, where the hungry souls can find refuge from the clamour of city streets. The air is thick with the smell of mothballs.

13 Back In The Hole. Victorian politics. A prison warden arrives home from Pentridge where the inmates have been kept in ‘lock-down’ for the previous twenty-four hours. This state of affairs is a direct result of government cost cutting. The prison system is about to be privatised. A Melbourne daily newspaper is interviewing the warden. He insists on anonymity for fear of losing his job. At the end of each shift he sits in his car in the driveway and waits for the waves of frustration to pass.

14 Holy Grail. Obsessed with a vision of a Russian Eldorado, Napoleon forced the grand army to march on Moscow in the winter of 1812. They froze to death in the ice and snow and the crows moved in to feed. This song was originally conceived while reading ‘Art and Lies’ by Jeanette Winterson, a little light relief, during the recording of ‘Cut’. It’s a parable about an army whose beliefs led to its own destruction. It also alludes to the endless search for the ‘rock ‘n’ roll carrot’ (otherwise known as ‘the Holy Grail’), that dangles before the collective nose of every band that ever walked the earth. Now a major sporting event standard…

15 Throw Your Arms Around Me. Love songs are hard enough to pull off tastefully. The strength of Arms is in its honesty, and a very simple hooky chorus. Other than that there isn’t much else to say. It’s personal. Hunters played it with great force and conviction. Though many have covered it, the best version is this live one from ‘Under One Roof’.

 

Disc 02 Unnatural Selection

01 The Finger. A bed sit the size of a small caravan, over the top of a bistro in Fitzroy Street. It was cheap, with a view. There was a large bay window next to the bed that received the full blast of a prevailing south westerly, and at night we lay there listening to the rain pounding on the tin roof, or the drug dealers and junkies scuffling in the alley below.

02 Skin Of Our Teeth. Lyric by Greg Perano.

03 World Of Stone. Apocalyptic fantasy. Visions of Mad Max, played in New Romantic night clubs in the Darlinghurst area, 1981. This track appeared on the first E.P. It has a cinematic feel. Crosby was an Eno nut. We made much use of the deep, almost sub sonic synth drone which emanated from the Korg MS20. It features in this track for the first time. The ‘long low drone’ came to underpin several Hunters tracks through the band’s life… a device that conveys a broad limitless horizon. Very Australian. Many eighties bands used it.

04 Little Chalkie. Death, again. Road kill. Evidence that the traveller is at the frontier of civilisation. Here there be dragons… and the carcasses of kangaroo on the great western highway.

05 Towtruck. For some, life is mechanistic. All will be well as long as the planning is disciplined and decisions are made free of needless emotion.

Towtruck is about the madness of human endeavour and large machines with awesome power and speed breaking down in the middle of nowhere. This song pre-empted the idea of road rage and drunk driving, which we explored on the subsequent ‘Jaws Of Life’ album. While in Germany recording that album, John Archer found a yellow tow truck… and set about recording the exhaust of the V16 engine of said machine… the recording subsequently appeared at the start of ’42 Wheels.’

06 I Couldn’t Give It To You. Sexual greed. The libido can drive the body only so far, and then beyond that there is only diminishing blood flow to the extremities. Sometimes you can bluff your way through the closing stages of love making, but there are times when it is simply best to apologise gracefully, and make her a cup of tea.

07 What’s A Few Men?. Another war story. Albert Facey’s autobiography, written during WW1… A beautiful tale of courage and suffering, in the face of enemy gunfire, and the indifference to Australian dead amongst the British officer class.

08 Stuck On U. A Darlinghurst love triangle. Sardine V, the band… first witnessed at the Trade Union Club, 1983.

09 This Morning. It’s okay for a bloke to sing, “If you say you want me, I won’t say no,’ Quite manly in fact. People definitely won’t get the wrong idea.

10 Dog. Yearning. The dog keeps coming back. Waits at the backdoor of her bungalow, day and night. The sound of her bare feet on the linoleum. The dog is drooling.

11 January Rain. The shock of poverty. Flinders Street Station, under the clocks, sacred site, home of the homeless, the temporarily deranged, the permanently transfixed. The merciless northerly has swung to the south west bringing rain across the bay. Steam rises from the tracks of platform two.

12 The One and Only You. A real grinder… one of the last we wrote… We were t that stage as a band, when the crowds were forever hanging out to hear the singles from old records… We’d launch into tracks like this one… an absolute live monster, and getting a response would be like trying to raise the dead. The radio recognition factor was crucial. Practically speaking, there wasn’t any radio after Holy Grail. Go figure. Still, at the end of the band’s life, the crowds were just starting to wake up to the new material. It was quite literally like starting from scratch. But it was too late. We were tired and commercial radio had declared it’s hand.

Late one night in January 2003, five years after the band had retired, a DJ back announced a hunters track… must’ve been about 2 am. ‘That was the Hunters. Victims of their own legend.’ The track was ‘Do You See What I See’… written in 1985.

13 Hear No Evil. Right in the middle of another great war, there is an earthquake under Hollywood. It couldn’t come at worse time for the film industry. California begins to fall into the sea. Airborne camera men take breathtaking footage of multi-million dollar homes burning in the hills. There is nothing but bad news for the good people at home in their lounge rooms on the other side of the world. Glaciers melt and the sea level begins to rise. Real estate values on the Mornington Peninsula are no longer worth sneezing at. Flights to New Zealand are booked out weeks in advance.

14 Debris. Labour relations down at the depot. This cover of a Ronnie Lane song given a slightly wistful Hunters swagger.

15 Wasted In The Sun. This song is a requiem for a dream we once had about our country being some kind of burgeoning utopia. There was definitely a view in the eighties that Australia was destined for greatness despite the hedonism of its people. Sadly, the hedonism had us firmly in its grip with this track. Picture yours truly ranting from a hotel window overlooking Bondi beach, expounding on the moral decline of those naked people lying on the sand below… it’s a little like a re-run of ‘When The River Runs Dry’ with an added tinge of hysteria.

16 True Believers. Somehow it felt as though we didn’t belong anywhere, after John Howard became the Prime Minister of Australia. The country had changed forever. Hunters and Collectors were an innocent bunch who only got anywhere because they worked hard. There was no mystery in that. But there came a time when it was obvious that the yearning had ended.

 

Disc 01

Tracks 1-15 Lyrics: Mark Seymour, Music: Hunters and Collectors.

Disc 02
Tracks 1-16 Lyrics: Mark Seymour, Music: Hunters and Collectors except Track 8 Written by: Ian Rilen / Stephanie Rilen and Track 14 Written by: Ronnie Lane.

All tracks published by Human Frailty / Mushroom Music Publishing except Disc Two, Track 8 by EMI Publishing and Disc Two, Track 14 by Warner Chappell Music Australia. All tracks exclusively licensed to Liberation Music for Australian and New Zealand.

Thanks to all in the extended tribe.

Hunters & Collectors final lineup:
John Archer – bass; Doug Falconer – drums; Jack Howard – trumpet, keys; Robert Miles – live sound, art; Barry Palmer – guitar; Mark Seymour – singer, guitar, lyrics; Jeremy Smith – french horn, keys, guitar; Michael Waters – trombone, keys.
Former members: Geoff Crosby, Martin Lubran, Greg Perano, Ray Tosti.

Management: Michael Roberts, Loud & Clear Management.
P.O. Box 276 Albert Park, Victoria, 3206, Australia / loud@zip.com.au

Thanks to Stuart Fenech (a true believer) for website curatorship and jogging our memories and to Craig Tigwell for relentless conceptual suggestions.

Links: www.liberation.com.au (good to be back with the firm),www.humanfrailty.com

Cover art by Rob, with layout by Sam Hickey, Amorphous9.

 

Liberation Blue
(P) and (C) 2003 Human Frailty Pty. Ltd. (This Compilation). Blue034.5.
Exclusively licensed to Liberation Records for Australian and New Zealand.
www.liberation.com.au www.humanfrailty.com

 

[DVD Version]

Tracks 1-24 Lyrics: Mark Seymour. Music: Hunters and Collectors. Track 25 Ronnie Lane.

All tracks published by Human Frailty / Mushroom Music Publishing except Track 25, published by Warner Chappell Music Australia. All tracks exclusively licensed to Liberation Music for Australia and New Zealand.

Track 25 – “Debris” clip directed by Matthew Hancock, 2003.

Hunters & Collectors final lineup:
John Archer – bass; Doug Falconer – drums; Jack Howard – trumpet, keys; Robert Miles – live sound, art; Barry Palmer – guitar; Mark Seymour – singer, guitar, lyrics; Jeremy Smith – french horn, keys, guitar; Michael Waters – trombone, keys.
Former members: Geoff Crosby, Martin Lubran, Greg Perano, Ray Tosti.

Thanks to all in the extended tribe.

Management: Michael Roberts, Loud & Clear Management.
P.O. Box 276 Albert Park, Victoria, 3206, Australia / loud@zip.com.au

Thanks to Stuart Fenech (a true believer) and Caelie Kairos for website curatorship and jogging our memories and to Craig Tigwell for relentless conceptual suggestions.

Links: www.liberation.com.au (good to be back with the firm),www.humanfrailty.com

Cover art by Rob, with layout by Sam Hickey, Amorphous9.

Region Code: 1/2/3/4/5/6, Audio Format: 2.0 Stereo PCM & 2.0 Dolby Digital.

Disc Format: Dual Layer DVD-9, Duration: 104min.

(P) and (C) 2003 Human Frailty Pty Ltd (This Compilation). LIBDVD1007.
Exclusively licences to Liberation Music for Australia and New Zealand.
www.liberation.com.au www.humanfrailty.com

Exempt from classification. Liberation Music DVD. Warner Vision Australia.