Abigail was born in the UK and arrived in Perth from London in 1968. Before long, she landed the leading role in the famous comedy 'Girl In My Soup'. From there she won parts in a variety of stage productions, TV shows and movies such as Play 543. The part that really put Abigail on the map was that of Bev Houghton in the TV series No.96. The role won her the title of Australia’s No.1 sex symbol and, in keeping with her image, she released a version of the seductive French love song, ‘Je t’aime’ in 1973. The record became a top seller.
Billy Abott & The Jewels
This pop rock group had a minor hit in 1963 with 'Groovy Baby', a song referring to popular teenage slang.
Original line-up:- MALCOLM YOUNG (guitar); ANGUS YOUNG (guitar); PETER CLARK (drums); ROB BAILEY (bass); DAVE EVANS (vocals). Malcolm and Angus were younger brothers of ex-Easybeat George Young who played an important role in advising and directing the band. The boys began playing with a variety of musicians in 1973, consolidating with the above line-up in April 1974.The band began working to develop the AC/DC sound, but their progress was temporarily delayed with Rob and Peter leaving to be replaced by PHIL LIP RUDD (drums) and MARK EVANS (bass). This change was followed by the departure of vocalist Dave Evans to join Rabbit, and led to the new notorious line-up including singer BON SCOTT. Bon was an experienced rock performer, having worked in top bands Fraternity and the Valentines and seemed to be the spark AC/DC needed to set the rock scene on fire. Their single, ‘Can I Sit Next To You Girl?’, sold only moderately. However, the follow-up, ‘Baby, Please Don’t Go’ (which was a hit for British blues group, Them), entered the charts in March 1975 and became a national hit. The band’s first album, 'High Voltage', which was also released in March 1975, became the second biggest Australian album of the year and stayed on the charts for a mammoth twenty-five weeks. As well as establishing themselves on the charts, the band began to develop a strong punk rock (or at least hard rock) image with their aggressive stage act portraying Angus as a schoolboy, and publicity detailing their hard drinking, hard living lifestyles. Meanwhile, their follow-up singles, ‘High Voltage’ and ‘It’s A Long Way To The Top’, charted well and their second album, 'TNT', which was released at Christmas in 1975, was declared gold within two months. Their success in Australia was now unqualified and with the attainment of a contract for overseas release on Atlantic, it was time for the boys to move on to greater heights, so in April 1976 they left for England. Their acceptance in the UK was almost immediate. They seemed to be the right band at the right time, having a punk image but displaying good musicianship. By July, they were selling records there, playing to enthusiastic crowds and getting publicity in music papers like Sounds and New Musical Express. Much of their publicity centred around Angus’ outrageous stage antics which included a gradual strip climaxing in a full nude rear view. Although the routine was a sensation with audiences, it caused some close brushes with the police. However, Angus managed to escape any prosecution. The band’s third album, Dirty Deeds Done Dirt Cheap, was released in October 1976 and they returned to Australia in December having paved the way for future success in England. Early in 1977 they returned to the UK. They toured Europe with Black Sabbath and then through the British Isles. They were a particular hit in Scotland where Angus, Malcolm and Bon were born. Meanwhile, the single ‘Love At First Feel’, charted in February 1977. ‘Dog Eat’, released in April ‘77, didn’t quite make it. In May 1977, it was announced that Mark Evans was leaving due to musical differences and he returned to Melbourne. The band held auditions for a replacement and came up with CLIFF WILLIAMS, formerly of English group, Bandit. The fourth album, Let There Be Rock, was also released in May and the following month the boys returned to Australia to record their next album to be released early 1978. Like its predecessors, it was produced by GeQrge Young and Harry Vanda. The band made no personal appearances during the visit and flew on to the US where they embarked on a promotional tour to stimulate their entry into the charts there. In America they were again met with a high level of excitement and from there moved on to Europe. Following further success in Europe, they returned to the UK in November where they had originally made it all happen. In England, the Let There Be Rock album leapt into the charts, hitting the No.15 position, whilst in Australia it had sold only moderately. The boys returned again to the US and their next local single was ‘Let There Be Rock (Pts. 1&2)’, cut in November. The boys arrived back in Australia on Christmas Day with plans to record a new album during their two or three month stay. Singles:- BABY PLEASE DON’T GO HIGH VOLTAGE IT’S ALONG WAY TO THE TOP TNT JAILBREAK DIRTY DEEDS DONE DIRT CHEAP LOVE AT FIRST FEEL Albums: HIGH VOLTAGE TNT DIRTY DEEDS DONE DIRT CHEAP LET THERE BE ROCK
There only hit was 'Wiggle, Wiggle' in 1958. The song assured girls that a well-placed wiggle would even show through a sack dress, the popular fashion of the day. The song reflects clothing styles and sexist attitudes of the day.
'Pledging My Love' (1955) was a number one record on rhythm and blues charts, was one of the first R&B songs to become popular among white teenagers. The song was later covered by numerous rock performers, including teen idols Johnny Tillotson and Bobby Vee. Ace's death in 1954, while playing Russian Roulette just prior to going out on stage, contributed to the legend that grew around him.
This rhythm and blues singer had a big hit, 'Shake A Hand' (1953) on the rhythm and blues charts in 1953.
This jazz musician's R&B influenced 'African Waltz' (1961) reflects the growing interest in Afro-American culture by the early 1960s. He would have even greater success later on with his instrumental hit, 'Mercy, Mercy, Mercy' (1967)
Billy became popular at dances and discos in the mid ‘60s and was a regular on the GO! TV show. He was famous for his particularly long (for that era) bouffant-style hairdo, which he eventually trimmed back as a result of hundreds of letters from GO! show viewers. His only hit was a version of the old Eddy Quinteros rocker, ‘Slow Down Sandy’, and when his two or three follow-up singles failed to make it, he took on a position in promotions with a major Melbourne department store.
Line-up: GRAHAM RUSSELL, born England, June 11, 1950 (guitar/ vocals); JEREMY PAUL, born Sydney, June 12, 1950 (bass, vocals); RUSSELL HITCHCOCK, born Melbourne, June 15, 1949 (congas, vocals). The group evolved after Graham joined the cast of Jesus Christ Superstar in April 1975 and began singing with fellow cast members Russell Hitchcock and Chrissie Hammond. The trio became a serious project during Superstar?s New Zealand tour when they made some appearances at campuses and on radio and TV.
This saxophonist's 'Leap Frog' (1957) bearely made it into the charts. His pop rock song about a childhood game is a good example of how some rock songs focused on pre-teen themes.
A pop rock performer who enjoyed moderate success in the early 1960s. His best known hits offer good glimpses of musical trends of the day. 'Mashed Potatoes' (1962) was an unsuccessful attempt to tie into the dance craze of 1961. 'Every Day I Had To Cry' (1963) found Alaimo trying to copy the increasingly popular R&B rock style, while 'Michael' (1963) was a minor hit trying to cash in on the folk sound made popular by acts such as Peter, Paul, and Mary.
He barely dented the top record charts in 1962 with two songs he wrote, 'You Better Move On' (1962) and 'Anna' (1962). Yet, artistically, the songs were two of the years best, and were later recorded by the Rolling Stones and Beatles, respectively. His success shows the lingering influence of R&B sound of the 1960s rock music.
Line-up: PETER ALLEN (vocals, piano); CHRIS BELL (vocals, guitar).
Laurie Allen & Bobby Bright
Laurie started out as a lead guitarist with the Knights and then took up the organ and lead vocals with the Bluejays. The Bluejays joined the Ivan Dayman organisation and Laurie decided to go his own way. Meanwhile, Bobby had been working for the Dayman organisation as a soloist in Adelaide and had decided to part company with them and move to Melbourne.
Lee Allen and His Band
He began as a saxophone player on several Fats Domino records. In 1957 he recorded an instrumental, 'Walkin With Mr. Lee' (1978), which became a minor hit.
Peter was born on February 10, 1942 in a little town in the hills of NSW. He learnt piano from an early age and was playing at the local pub by the time he was ten.
He first achieved fame with a country and western radio show out of Chicago in the late 1940s. By the early 1950s, he was making Grade B westerns for Republic Studios. In 1962 he had a Top 20 record on the rock charts with 'Don't Go Near The Indians' (1962). The song mirrors the public's fascination with the American West during the early 1960s when TV westerns were extremely popular. It also reflects stereotypes of Indians, and shows the continuing influence of country and western on pop music.
His only hit was 'Stranger From Durango' (1960). The song tried to capitalize on the popularity of movie and TV westerns of the early 1960s.
In February 1971, popular Sydney-based TV and club performer, Dave Allenby, released ?She Works In A Woman?s Way? (which he recorded with pop group Autumn) on the new Chart label. The single just scraped into the national top forty. It was followed by an E.P. of the same name. However, further chart success eluded him.
This pop rock group had a minor hit in 1963 with 'Surfer Street'. The song reflected the surfing fad of the day.
The Allman Brothers Band
The Allman Brothers Band was one of America's best 'live' groups. They came from the South, and cut their teeth in the go-go-club and liquor-bar circuit. From there Duane Allman became a revered and respected session guitarist, working for people like Wilson Pickett (Hey Jude), Aretha Franklin, Clarence Carter and King Curtis. Sometime later he took time off from the band to work with Eric Clapton on the 'Layla' album. The Allmans basic blues-rock style can be found on their first album 'The Allman Brothers Band', but a fairer representation of their legendary 'live' appeal occurs on 'The Allman Brothers Band/At Fillmore East' and on the highly praised 'Eat A Peach' album. It was half-way through this last album that Duane Allman hit a truck on his motorbike, and joined that long list of rock stars who have died befor their time.
Line-up: KEVIN HUGHES (drums); TERRY CHAPMAN (bass, organ, vocals); JOHN SHAW (piano, organ, vocals); TERRYHEARNE (lead guitar, vocals); MIKE MORRIS (rhythm guitar, vocals). The group, centred around composer Mike Morris, emerged in the mid-sixties with more talent and a tighter sound than most of their contemporaries. They were snapped up by Parlophone Records and released their first single, a version of Rick Nelson?s hit, ?Gypsy Woman?, backed with ?Fever (Burns My Brain)?, which was written by Mike. The single was a success and they followed it up with two more of Mike?s compositions, ?The Dancer? and 'Roller Coaster Man'.
Born on March 31st, 1937, Herb Alpert attended the University of Southern California. He took up trumpet at the age of eight and played in junior and full symphony orchestras. During his spell in the Army he developed a love of jazz, but realized that he had no particular talent as a jazz musician. In 1957, he teamed up with Lou Adler writing songs for Keen Records. Their 'Wonderful World' was a hit for Sam Cooke in 1960, and later for Herman's Hermits in 1965. During 1966 he was working as a session musician and recording himself in his 'home-studio', where he discovered his distinctive 'double trumpet' sound. Alpert formed A & M Records with Jerry Moss to promote his first hit 'Lonely Bull', which reached no. 6 (USA) and no. 27 (UK) in 1962. From there he had a succession of Gold Albums, starting with 'Lonely Bull' (1962), then 'Herb Alpert Vol. 2', 'South Of The Border', 'Whipped Cream And Other Delights' (1965), and 'Going Places' (1965). In April 1966 'Going Places' was no. 1, 'Whipped Cream' no. 3, and 'South Of The Border' no. 6 in the USA charts. Following a decline in his popularity, Alpert moved more into the probuction side of A & M, and then producing Gino Vannelli.
Greg?s parents had a whip cracking act and he appeared with them as a child. At the age of seven, he took part in the Moomba Rodeo Festival as a trick rider, and at the age of ten he made his first appearance at the Orama Ballroom in Melbourne as a singer. He continued singing throughout the sixties doing a lot of country tours
The Anumals were one of the strongest groups in the English rhythm and blues boom of the mid 60's. Formed in 1959, the original band hailed from Newcastle, and featured Alan Price on organ and piano. Chas Chandler on bass, Hilton Valentine on guitar and Eric Burdon on vocals. In 1964, 'House Of The Rising Sun' cut through the Beatlemania to sell 4,000,000 copies world wide and achieved the distinction of turning Bob Dylan onto rock & roll. Alan Price can be seen hanging round with Dylan and several bottles of Newcastle Brown on the 'Don't Look Back' film. A string of hits followed, and the Animals became known as the 'blackest' of the white R*&B bands and Burdon's voice was considered 'soul' enough to rate five pages in the Black American magazine Ebony. In 1966, when Alan Price had left, Eric Burdon killed off the wild bluesy Animals, took LSD, formed Eric Burdon and the New Animals, and sang gentle songs about love and San Franciscan nights. The old fans were dismayed, and after releasing 'Love Is' in 1968, Eric left rock to become a film star. He returned a couple of years later with a backing group called War. Chas Chandler went into management with Jimi Hendrix and then Slade. Alan Price, after working with the Alan Price Set and Georgie Fame released his 'Between Yesterday And Tomorrow' album. The first two albums 'The Animals' (1964) and 'Animal Tracks' (1965) still stand as remarkably clear illustrations of what the British R&B boom was all about.
Paul Anka was born in Ottawa, Canada, on 30th July 1941, and started professional singing at the age of 12 with two friends. The trio were pretty successful in Canada, so when they disbanded Paul persuaded his parents to send him to Hollywood where he had a uncle with 'show-biz' connections. Eventually he was signed by Don Costa to Paramount records. He had his first hit in 1957 with 'Diana', which stayed at no. 1 for one week in the States and nine weeks in the UK. 'I'm so young you're so old, This my darling i've been told.' Not exactly tactful, but it went down well all the same. Anka's publicity sold him as a heavily emotional singer exposing his soul through his rather tortured voice. Other recordings to earn Gold Discs were 'Lonely Boy', 'Put Your Head On My Shoulder', 'Puppy Love' and 'My Home Town'. By the time he was 17 he was a millionaire and at 18 he was the youngest performer ever to star at the famous CopacabanaClub in New Yourk. By 21 - amidst talk of retirement - he had written over 200 songs, notably 'It Doesn't Matter Anymore', which was recorded by Buddy Holly in 1959. He has survived into the 70's in better shape than most of his contemporaries, such as Fabian, Tommy Sands and Avalon.
Rod Argent first formed The Zombies in 1964 with himself (keyboards, harmonica, violin, clarinet, vocals), Hugh Grundy (drums), Paul Atkinson (guitar, violin, harmonica), Chris White (bass, vocals) and Colin Blunstone (guitar, tambourine, vocals). Two of their major hits of the time were 'Tell Her No' and 'She's Not There'. They then seemed to drop out of the picture for a time, but came back again with a new album in 1968. It wasn't long after however, that Rod decided to back up The Zombies, and at the time of their successfull hit 'Time Of The Season' in March 1969, he formed Argent with his cousin Jim Rodford (bass), who used to be with Mike Cotton and Lucas, Russ Ballard (guitar), and Robert Henrit (drums), Argent's first album, 'Argent', was released soon after, but their first break came with the 'Hold Your Head Up' single, a hit on both sides of the Atlantic, which was followed by the successful 'God Gave Rock And Roll To You'.
Original line-up: MIKE RUDD (guitar, vocals); BILL PUTT (bass); JOHN MILLS (keyboards); TIM GAZE (guitar); NIGEL MACARA (drums).
A 23 year old singer with a powerful bluesy voice. Born in St. Kitts, West Indies, she came over to England at the age of eight and settled with her parents in Birmingham. In 1969 she teamed up with Pam Nester - Joan writing the music and Pam the lyrics. They have worked together ever since. Though comparatively new on the scene she has been credited with a number of radio and television shows and has completed extensive tours of both Germany and the UK. In November 1972 she released her first album 'Whatever's For Us' and in June 1973 her first single 'Lonely Lady'.
Johnny was born on February 1, 1927, and spent his early teens travelling the NSW country areas as an apprentice wool classer. His interest in music blossomed towards the end of World War II. In the late forties, he began touring as a country and western singer. He began recording in 1954 and in 1960 co-wrote a song with Sydney DJ, Tony Withers, about an actual news item in January of that year involving a lost schoolboy who was subsequently found after a mammoth search. The song, ?Little Boy Lost?, became a big hit. It was released in the US on the Capitol label as well as being covered in the UK by Tommy Steele. Johnny?s follow-up singles, ?Big River? and Kevin Shegog?s ?Little Kangaroo?, failed to chart. However, he continued to record until the early seventies when he again recorded on the EMI label. At this stage, his songwriting became more prolific and included Johnny Chester?s hit, ?Highway 31?. In 1973 he entered the charts with ?Playground In My Mind?. Today Johnny is still recording and in the mid seventies moved to RCA studios.
At the age of ten, he was given a banjo and he learned to play by ear. By the age of seventeen he had managed to get himself to England where he played in~. a rock band only to return to Adelaide a year later and work in a group called the Bowmen (with Bobby Bright). From this point, Doug began to emerge as a folk hero. By mid 1969 he had three albums to his credit and was recording for the Sweet Peach label. In July 1970, he released his fourth album, a two record set entitled The Age Of Mouse. The album was highly acclaimed and was accepted by the MCA organisation for overseas release in fifty countries including the USA.
The Association are a bit of an oddity on the USA scene. Their first hit in 1966, 'Along Came Mary', picked up a lot of publicity from the fuss about drug references in rock songs. The 'Mary' in the song went round solving people's problems and somebody decided that 'Mary' must be marijuana. There next three million-sellers, 'Cherish', 'Windy' and 'Never My Love', were as free from drug refereces as 'Mary' probably was, but by the time they were on their way. A very clean, wholesome and unrebllious group, their strength is their pure vocal harmonies. Highly rehearsed, they tend to sound like a 'robust heavenly choir'. They have a large following in the Mid West of America.
A country guitarist who became a Grand Ole Opry star, and was vice-president of RCA Victor when they bought up the unknown Elvis Presley's contract from Sun. Chet produced the early Presley records putting more emphasis on the electric guitar, drums and vocal backing groups than the very basic Sun tapes.
Lineup: PETER HOOD (drums); BOSCO BOSONAC (bass); THEO PENGLIS (guitar); JAMES SKIA THITIS (guitar). The boys met in a bus returning from the beach to Randwick in Sydney where they all lived during the summer of 1960/61. This chance meeting resulted in the formation of the band, initially playing Shadows-type instrumentals and then adopting the new surf sound. It wasn?t long before the band was snapped up by CBS Records. They released their first single, ?Dark Eyes? in February 1963. Their first chart success came in October ?63 with the classic ?Bombora?, which was followed by an album of the same name. The instrumental was one of many records of the era which borrowed its name from a surfing term. Follow-up singles included the ?Crusher? and ?Moon Man? before the group?s activity quietened only to re-emerge again in 1967 as Johnny Rebb?s backing group.
Brian Auger start out as a jazz pianist, being voted 'brightest hope' in the Melody Maker Poll of 1964. He was one of the many jazz musicians sucked into rock by the R&B boom of the mid 60s, when he joined the famed but unsuccessful Steam Packet which included Rod Stewart, Julie Driscoll, Long John Baldry and Elton John among others. He then formed the Brian Auger Trinity with Julie Driscoll. Two years hard touring brought the usual overnight success. Unusually they had their first hit on the continent with 'Save Me' and then went on to conquer Britain and New York with 'This Wheel's On Fire'. Julie breifly became the 'IT' girl of 1968, and the group was somewhat overshadowed by her publicity. Julie and Auger split in 1970 and the Trinity was disbanded in 1971. Then, tempting fate, Brian formed a jazz-rock group called Oblivion Express. Unfortunately, fate appeared to have taken up its option and Brian's career was temporarily obscured, although he did keep touring widely and releasing records.
See COOL BANANAS
AUSTRALIAN CAST OF CHARLIE GIRL
The Australian production of Charlie Girl was first staged in Melbourne in September 1971. It starred JOHNNY FARNHAM, DAME ANNA NEAGLE and DEREK NIMMO. The show went on to play around Australia and toured New Zealand in mid 1972. An album featuring the Australian cast was released and drifted into the charts in May 1972.
AUSTRALIAN CAST OF GODSPELL
Godspell was first staged in the Playbox Theatre in Melbourne in November 1971 starring COLLEEN HEWETT. She remained in the show for eight months. During that period she had a number one hit with ?Day By Day? from the show. An Australian cast album was also released early in 1972.
AUSTRALIAN CAST OF JESUS CHRIST SUPERSTAR
A breakdown of artists who worked in the production at one time or another reads like a Who ~s Who of the Australian pop scene. Cast members included JOHN ENGLISH (as Judas), TREVOR WHITE (as Jesus), MARCIA HINES (as Mary Magdalene), JOHN PAUL YOUNG (as Annas), STE VIE WRIGHT (as Simon), JEREMY PAUL, GRAHAM RUSSELL and RUSSELL HITCHCOCK of Air Supply, BILL and PAM MILLER of the Ferrets and CHRISSIE HAMMOND of Cheetah. The show was a lavish production utilising spectacular lighting and sound techniques. It toured throughout Australia and New Zealand over a period of four years spanning from 1972 to 1976, utilising a variety of formats. A cast album was released in 1972 and charted throughout the summer of ?72/?73.
AUSTRALIAN CRICKET TEAM
The 1972 Australian cricket team, in London to challenge for the Ashes, recorded the novelty song, ?Here Comes The Aussies?, which also made the English charts.
Lineup: STEVE McMURRAY (lead guitar); RICK GRAHAM (bass guitar); GLEN BEATSON (drums); TONY ROMERIL (vocals); GREG JACQUES (organ). The Sydney band surfaced in August 1970 with a cover version of English band Christies? hit, ?Yellow River?. The song was also covered by Melbourne group, Jigsaw. Together they charted nationally for an amazing twenty-four weeks. Autumn recorded for the new independent Chart label and soon became the heart-throbs of Sydney teenagers. Of course, the danger in having such a big initial hit was that they would become one-hit wonders. However, their follow-up single, ?Looking Through The Eyes Of A Beautiful Girl?, and album entitled Song To Raymondo, proved that they had the talent to last. Hot on the heels of their second single came a third (also from the album) called ?She Works In A Woman?s Way?, which also sold well. In April 1971, Greg left to be replaced by guitarist ALLAN MARSHALL (ex-Hot Cottage), who seemed to have the effect of improving and complementing the band?s harmonies. Meanwhile, the group switched record labels to Warner Brothers and released a new single in May 1971 called ?Falling?. At this point, the boys flew to Melbourne where they had previously had difficulty getting a hearing, as both their earlier records had been covered there by local bands (Jigsaw and the Strangers), to promote their 20 new single. The trip was a success. However, the band split up eventually following the release of their next single, ?Goblin?s Gamble?. The band did reform in mid 1976 with two original members (Tony and Rick), although they featured a new sound and played none of the old songs. Autumn?s comeback lasted only a short period before petering out. In 1977 Tony embarked on a solo career.
Lineup: TONY NAYLOR (lead guitar); GEOFF COX (drums); CLIVE HARRISON (bass);ADRIAN CAMPBELL (vocals). The band formed out of the split of the Bootleg Family Band and began appearing in Melbourne early in 1976. The boys were quick to release their first single, ?Wizard Of Love? in April ?76. The record met with immediate chart success. Their second single, ?Sweet Baby Brown Eyes? (written by Tony), was released in July 1976 and an album simply called Avalanche hit the music stores in September. The following month brought what was potentially the group?s biggest break when it was announced that they had signed with ABC Dunhill Records for release of their material in the US. ?Wizard Of Love? became their first US single and was followed with a record called ?Landslide?. Reaction from the US was not strong enough to prompt a trip there. Their progress was hampered with the loss of Geoff in February 1977. Geoff?s replacement was Queensland drummer, JOHN BARNES, who only stayed with the band until April ?77 when he was replaced by BARRY CRAM (ex-Panther). This disruption was followed by the news that Chive was also leaving. It looked like a dissolution might result. However, a new bass player, GRAHAM THOMPSON was found and the band completed the injection of new blood with the addition of GERARD McCABE on keyboards. The new line-up then produced a single, ?Got To Get You Into My Life?, at the end of 1977. The number was a rework of the old Beatles? song. Single: 17/ 4/76 WIZARD OF LOVE No.22 8 weeks Bootleg
Original lineup: BRIAN CADD (organ); DON MUDIE (bass); GLEN SHORROCK (vocals); DOUG LA VERY (drums); CHRIS STOCKLEY (lead guitar). The band?s formation in 1969 caused a lot of controversy as it was alleged in some circles that Don and Brian initiated the Groop?s break-up in order to form Axiom. Whether or not the claim was factual is hard to say. However, it was certainly true that the band?s formation caused disruption to some top groups with Glenn (exTwilight) withdrawing as manager of the Avengers to join up, Doug leaving the Valentines and Chris dropping out of Campact. Axiom was immediately hailed as a supergroup and their goal seemed obvious ? an assault on the English market. December 1969 saw the success of their first single, ?Arkansas Grass? (written by Brian and Don), and, unfortunately, the departure of Doug Lavery, who was replaced by DON LEBLER (ex-Avenger). Four months later (April 1970), the band left for England reportedly with recording offers from both Apple and Decca Records, and a firm publishing contract with Leeds Music. On the eve of their departure, they released their next single, ?A Little Ray Of Sunshine? (another Cadd and Mudie composition) and also their debut album entitled Fool?s Gold. The LP was hailed as a milestone, featuring their own original material and a variety of unusual instruments (such as a didgeridoo and jew?s harp) in order to enhance the otherwise basic sound. Whilst in the UK the band finally signed a three year contract with the Warner/Reprise label. They returned to Australia in November 1970. Their reception back here was a little quiet. After a national tour and the release of their next single (?My Baby?s Gone?), they returned to England. Back in the UK, things were far from stable as Don Mudie departed and Don Lebler left to join the Mixtures. Finally, in March 1971, the group officially disbanded. Brian and Don teamed up initially to write and record before Brian embarked on a very successful solo career. Glenn worked for Singles: 6/12/69 4/ 4/70 23/ 1/71 Album: 20/ 6/70 a time with MAM Agencies as a singer/composer/producer before turning up again in the Little River Band, and Chris went on to become part of the Dingoes. A single version of ?Fool?s Gold? was released immediately after the break-up in April 1971, but it failed to make the charts. ARKANSAS GRASS A LITTLE RAY OF SUN. SHINE MY BABY?S GONE FOOL?S GOLD No. 7 18 weeks P?phone No. 5 13 weeks P?phone No. 8 12 weeks Warners No.18 1 week P?phone
See BILLY THORPE AND THE AZTECS
The Bachelors were an Irish group, who hit the charts early in 1963 with 'Charmaine'. They followed this with nine more hits up to 1967 including a no. 1 with 'Diane' in 1964. They sang straightforward sentimental songs in a polished style with an insistent but light beat. Their other hits included 'I Believe' (1964), 'Ramona' (1964), 'I Wouldn't Trade You For The World' (1964), 'Marie' (1965) and 'Sound Of Silence' (1966).
Cash, whose real name is Arvids Krastins, was born of Latvian parents. He grew up in the Melbourne suburb of Ascot Vale and took up working at a timber mill in eastern Victoria which must have played a part in developing his robust image. The musical side of Cash?s life started at the age of fifteen when he began singing at parties and writing songs. It was his talent for composing that won him a contract with Compak Productions. His vocal abilities came to the fore with a cover version of Jim Stafford?s hit, ?My Girl Bill? on Image records. The record became a top ten hit and was interpreted by many as a ?gay? song. However, it was apparently about a girl with the name Bill. Cash?s next chart success came in February 1975 with a revival of Jim Reeve?s ?He?ll Have To Go?, and, in April ?75 he released his first album entitled Loving You. Meanwhile Cash was also developing as an actor, usually taking on tough-man roles in police dramas like Division 4 and Homicide. Cash moved on to the Rainbird label and released his second album, A Little Bit Of Understanding. One of his compositions, ?Oh Caroline? (which was about Cash?s wife), was released as a single from the album in May 1976. Although further success in the national charts has eluded Cash, he continues to be a top country seller and a popular touring artist. During the latter half of 1977 he toured with the renowned Greyhound Country Music Express. Singles: 6/ 7/74 MY GIRL BILL No. 7 10 weeks Image 15/ 2/75 HE?LL HAVE TO GO No.30 5 weeks Image
Joan Baez started out singing in the clubs of Cambridge, Mass., but arrived in New York City in 1960 where she began to make a name for herself in Greenwich Village. Although she sang too well to be regarded as 'authentic' by the purists, she was the first of a new wave of folk singers who became nationally famous and turned a whole generation of White America on to folk music. It was Joan who gave young Bob Dylan a start by persuading him to join her on stage when they would sing each others songs. After putting three albums into the Top Twenty in November 1962, Joan forsook material such as 'Plaisir d'Amour' and 'Mary Hamilton' for more political songs, much in the tradition of Peter Seeger, Jack Elliott and Woody Guthrie. As well as singing the songs she organized protests against the Vietnam war and was often seen at the head of demonstrations for peace, civil rights and student rights. Since opening a School For Non-Violence in 1967 she emerges only for the occasional major concert or tours, or for a political gesture such as spending Christmas 1972 in Hanoi.
Dorothy was a very popular cabaret and TV artist during the late fifties and early sixties, performing regularly on Melbourne variety shows like Sunnyside Up. She recorded for W&G Records. Her first chart success was with a cover version of Jo Ann Campbell?s ?Girl From Wolverton Mountain?. Kevin Shegog had already successfully recorded ?Wolverton Moun tain? (a hit for Claude King in the US), and when the powers that be at W&G heard that the sequel was due to be released in Australia, they decided to cover it also. They had to act swiftly and they produced what must be one of this country?s fastest single releases. Dorothy was contacted on a Tuesday, the song was recorded on the Wednesday, at the radio stations by Friday and in the shops the following Monday. Dorothy?s next chart success was ?Darling?, written by Kevin Shegog. In April 1963 she signed with Parlophone in the UK for releases there. Although she did not achieve high overseas record sales and had only one more local hit ?A Little Like Lovin??, she has retained her youthful style and good looks into the seventies and still makes regular TV appearances. Singles: 30/ 8/62 GIRL FROM WOLVER TON No. 5 13 weeks W&G MOUNTAIN 24/ 1/63 DARLING No.27 6 weeks W&G 9/ 8/63 A LITTLE LIKE LOVIN? No.26 3 weeks W&G
Ginger Baker started out as a jazz drummer and was almost an 'apprentice' to the late Phil Seamen. After playing with Alexis Korner, Ginger joined the Graham Bond Organisation, a group that was very influential on the club scene in the early 60s. Ginger spent two years with Bond, whose bass player was Jack Bruce, and it was in this band with its then quite unusual free-style jazz influence, that Ginger laid the foundations for Cream, formed at the beginning of 1967. While with Jack Bruce and Eric Clapton in Cream, Ginger was voted 'Worlds Top Drummer' in the music press, an honour he has received many times since. Ginger's extended solo 'Toad' became not only a high point of Cream's stage act but a source of ideas for many drummers in groups that followed the lead Cream had given. After Cream split in 1968, Ginger Baker and Clapton began jamming with Stevie Winwood which led to the ill-starred Blind Faith. Nothing went well for what was hailed as 'the supergroup of supergroups' right from the British debut on June 7th 1969. After Blind Faith, Ginger formed his own band Airforce, which made an album, but never really got off the ground. In 1971 Ginger scripted and produced a film record of his visit to Nigeria, which was shown on BBC television in July 1973. Since then Ginger has spent a lot of time in Lagos, and has started a recording studio there. His latest venture is Salt, a band made up of African and European musicians.
Long Johb Baldry
Long Johb Baldry was a giant on the early 60s British blues scene in more than one sense - he is six foot seven tall - Baldry sang with Alexis Korner and then Ied Cyril Davies' R&B All Stars after Cyril's death in 1964, changing the name to the Hoochie Coochie Men. In 1965 he formed Steam Packet, which included Rod Stewart and Elton John in the line-up. Despite his authentic blues voice, Baldry's only record success was with two slushy sentimental ballads, 'Let The Heartaches Begin' (a no. 1 in 1967) and 'Mexico' (1968). Since then Baldry has disappeared from the scene.
The Band started out playing together in Canada in 1959, playing with Ronnie Hawkins and making some records themselves as Levon and the Hawks, named after Levon Helm, the drummer. The other members of the Band were Rick Danko (bass, vocals), Garth Hudson (organ, vocals), Richard Manuel (piano, vocals) and Robbie Robertson (guitar, vocals). In 1965 they were playing in New Jersey when a phone call came out of the blue from Bob Dylan, who wanted a backing group when he made his controversial move into rock. Up to 1967 they spent their time touring with Dylan and making a number of unreleased recordings (e.g. the famous 'basement tapes' and 'live at the Albert Hall' recordings that have appeared on bootleg albums). They then developed a style of there own, displayed throughout their album 'Music From Big Pink' but most brilliantly in their 1968 hit single from this record 'The Weight'. Their first recordings made an impact through good songs and a free, relaxed style of impeccable good taste developed through years of playing together. Robertson emerged as a fine guitarist and songwriter, especially on their second album 'The Band' which successfully evokes the mood of rural and small-town America in a natural way that no other group has done. Succeeding albums 'Stage Fright' and 'Cahoots' developed the same themes equally successfully. The Band played with Dylan at the Isle of Wight in 1969; toured Europe themselves in 1971 and then, amid critical jeers, released a live album, 'Rock Of Ages' - following this with 'Moondog Matinee' in 1973.
BAND OF LIGHT
Original line-up: PHIL KEYS (guitar); PETER ROBERTS (bass); TONY BUETTEL (drums); NORM ROUE (slide guitar). The band was formed during the latter part of 1972 by Phil. Both Phil and Peter were ex-La De Das; Tony had worked with Fraternity and Levi Smith Clefs; and Norm came from the Sydney group Gut-bucket. The aim behind the band was to develop a sound that was basically rock orientated, but it included some blues songs and featured slide guitar. The band suffered its first setback after only three live performances when Peter left. He was replaced by IAN RILEN. By early 1973 they had consolidated themselves enough to land a recording contract with WEA Records. In July 1973, ?Destiny Song? hit the national top forty. This was followed by their debut album, Total Union, which was released in August ?73. Further record sales success eluded the band although they continued to perform successfully with some line-up changes until 1975. One of their better subsequent single releases was ?Free Them From Hunger?. Single: 7/ 7/73 DESTINY SONG No.18 3 weeks Warners Album: 1/ 9/73 TOTAL UNION No.13 1 week Warners
Tony was born in England on December 3, 1943. He is not to be confused with the other Tony Barber (of TV?s Great Temptation fame). He worked as a window dresser after leaving school and came to Australia in 1964. After only one month?s residency, he joined Billy Thorpe?s Aztecs and became a strong asset to the group as a rhythm guitarist and composer of many of their hits (including ?Blue Day? and ?Don?t You Know?). The group met with tremendous success, but in early 1965 they broke up and Tony formed Vince and Tony?s Two with lead guitarist, Vince Maloney. The duo had no successful records and only lasted a few months before breaking up. Vince formed The Vince Maloney Sect and Tony went on to pursue his successful solo career. Tony was snapped up by Spin Records. His first hit, ?Someday?, took off immediately. The single was followed by an album, Someday... Now, which was released in March 1966. Three more selfpenned singles managed also to make the charts (as listed below). In April 1967, he married well known Go-Set journalist, Sue Peck, and then drifted out of the pop limelight. Singles: 6/ 2/66 SOMEDAY No. 7 15 weeks Spin 1/ 6/66 WAIT BY THE WATER No.35 5 weeks Spin 17/ 7/66 NO, NO, NO No.21 21 weeks Spin 18/ 1/67 LOOKING FOR A No.39 1 week Spin BETTER DAY
Noelene was born in Sydney on Christmas day in 1944. She began singing at the age of five. With encouragement from her mother, she appeared wherever she could. Her big break came early in 1960 when she entered a talent quest which Festival?s A&R man, Ken Taylor, had helped establish at Ling Nam?s Chinese Restaurant in Sydney. Noelene?s clear voice and stage charm won her a contract with Festival. Her first record, ?Starry Eyes?, was released on the company?s ?try-out? label, Rex, in March 1960. The record was not successful. However, her follow-up, the dis tinctive, simple arrangement of ?Barefoot Boy?, made the top ten all over Australia. By this stage she had become a regular on Bandstand and continued to achieve chart success throughout 1961 with ?Rendezvous? and ?Tammy?. Although Noelene was unable to produce a national hit in 1962 or 1963, her popularity continued to grow. In August 1964 she released another very distinctive record, ?My Little Treasure From Japan?. The Japanese version, entitled ?Kon Nichi Was Achan?, had already sold over one million copies in Japan. Noelene ?s version repeated this success in Australia. An album followed. Over the ?64/?65 Christmas season she broadened her activities to take to the stage in the pantomime, Wizard of Oz. From this point, Noelene began to lose her pop singer image, adopting a more sophisticated cabaret/performer approach. Consequently she drifted from the charts. In March 1965 she travelled to Japan, following the success of ?My Little Treasure? there and made a number of TV appearances. Noelene?s English version of their song and her demure looks seemed to appeal to the Japanese. Back in Australia she continued to work clubs. Later in the sixties, she moved to England where she made solo appearances as well as providing vocal backing for artists like Cliff Richard. In 1975, she married Stephen Stewart-Topper and set up house in Essex. Noelene had her first child in 1976 and has remained involved in entertainment. Singles: 24/11/60 BAREFOOT BOY No. 5 16 weeks Festival 25/ 2/61 RENDEZVOUS No.30 8 weeks Festival 5/ 8/61 TAMMY No.35 4 weeks Festival 9/10/64 LITTLE TREASURE No.24 6 weeks Festival FROM JAPAN
Line-up: ROBIN GIBB and MAURICE GIBB (both born on December 22, 1949) BARRY GIBB (born on September 1,1947). The Gibb brothers were born on the Isle of Man in the Irish Sea and moved to Manchester in England where their interest in music began to develop. Their father, Hugh Gibb, was a band leader and drummer, so he was quick to give them every encouragement.
Pianist Graeme Bell, became very popular during the post-war period and released a number of successful 78 rpm records. Early in 1963, he recorded a version ot the theme from a popular English comedy series called The Rag Trade. The record was a hit with both jazz fans and fans of the TV show. Although Graeme had no more hit singles, he continued to record with his band, the All Stars, and releases included a couple of successful albums for Festival Records. He has also become a permanent part of the Sydney League?s Clubs scene. Single: 21/ 2/63 RAG TRADE RAG Merv Benton
No.27 11 weeks Festival Merv grew up in the Melbourne suburb of Reservoir and went to school at Preston High where he was an enthusiastic tennis player. He had no great desire to become a singer and when he left s~hool he joined a prominent Victorian bank as a trainee. One night at a local dance, unbeknown to Merv, his friends en33 tered him in a talent quest. When his name was called it was too late to back out. His appearance was successful and he soon became a regular singer throughout Melbourne?s dance scene. Merv quickly built a strong following. Even prior to his first record release he had developed a fan club of over 250 members. This was a unique achievement considering his only exposure was at local dances. A record contract came early in 1964 with the W&G label. With young promoter, Brian de Courcy, as his manager, he began to create mild hysteria. Merv?s first single was a revival of Elvis Presley?s ?Baby, Let?s Play House?. It became the forerunner of a string of hit singles spanning the following three years. The Benton image of classic good looks, close-cropped hair and tailored suits was in complete contrast to the new wave of long-haired, Liverpool-sound groups of the era. However, he won the hearts of young fans all over Australia. By the end of 1964, the nineteen year old singer had released his debut album, Come On And Get Me; had become a regular on national and local TV pop shows; and toured the country with Billy J. Kramer. Throughout 1965, he continued to tour Australia with backing group, the Tamlas. He also produced four more hit singles. Merv created fervent excitement amongst female fans wherever he sang. He rode into 1966 on the crest of a wave of oncoming success. The early part of the year saw a continuation of his winning formula of recording rock?n?roll standards. During this time he gradually became aware of an irritating throat problem. By September 1966, the complaint had become serious enough for him to withdraw from a big concert at Melbourne?s Myer Music Bowl. Later that month it was announced that Merv had disabled his larynx as a result of a nervous disorder and that he would be out of action for two years. Nevertheless, the retirement became permanent. It was a tragedy for the young singer who had been voted Australia?s third top male vocalist (to Normie Rowe and Ronnie Burns) in Go-Set?s Pop Poll. Merv?s record company did have some unreleased material though, and he continued for a short time miming new singles on television. Eventually he returned to the bank, and although he released a country flavoured album later in the sixties, he did not re-enter show business. Singles: 3/ 4/64 BABY, LET?S PLAY No.17 4 weeks W&G HOUSE 19/ 6/64 NERVOUS BREAKDOWN No.38 1 week W&G 34 14/ 8/64 BE SWEET No.22 8 weeks W&G 4/12/64 COME ON AND GET ME No.34 3 weeks W&G 16/ 5/65 I GOT BURNED No.13 16 weeks W&G 22/ 8/65 YIELD NOT TO TEMP? No.11 7 weeks W&G TATION 10/10/65 DON?T DES TROYME No.19 6 weeks W&G 14/11/65 SHIMMY SHIMMY ?65 No.31 5 weeks W&G 9/1/66 WE GOT LOVE No.27 6 weeks W&G 20/ 2/66 YOU?VE GOT WHAT IT No.20 9 weeks W&G TAKES 15/ 5/66 THE WORRYIN?KIND No.22 5 weeks W&G
Kerrie began playing piano at the age of five and continued studying it seriously until she turned fifteen. At this point she developed serious arthritis in her hands and turned to singing as her only alternative. On leaving school, she took on a day job, but became frustrated over not being involved in her first love ? music. Finally, in 1968, at the age of twenty-one, she auditioned as a vocalist for a group called Affairs and became their lead singer. The band won the National Battle of the Sounds and, in 1970, utilised their prize which was a trip to England. Whilst in the UK the members found different directions and Kerrie returned home. Back in Australia she took on session work. She also began appearing with the Daly Wilson Big Band. In the meantime, Kerrie married David Glyde. Following the band?s last concert (at that point in time), they decided to check things out in Canada. She remained there for three months, doing some session and TV work before returning to Australia and joining the Bootleg label. Kerrie started work on an album immediately. The result was a best-seller. From April 1973, she toured with the Bootleg stable. The album sold steadily over the next few months. In January 1974, negotiations were completed via a Gold Coast hotel owner for Kerrie to sign a contract spanning three years, to sing at the MGM Grand in Las Vegas. Later that year she was chosen to appear at Expo ?74 in Spokane. She had now become a world class entertainer. In mid 1975, her outstanding Only The Beginning album was released following her move to EMI Records. Kerrie?s high point came later in ?75 when she left for London to appear at the Royal Albert Hall. Miss Biddel is still a major club performer and more recently has become an integral part of Sanyo?s advertising campaign. Album: 14/ 4/73 KERRIE BIDDEL No. 9 6 weeks Bootleg
BILL & BOYD
Lineup: BILL CATE and BOYD ROBERTSON The duo teamed up while they were both still at college in Wellington, New Zealand. They started off playing at concerts for fellow students. Then they graduated to clubs and managed to score a recording deal with a local label. A succession of hits followed on the New Zealand charts and they toured the country several times. Then, early in 1964, they left their following behind to further their careers in Australia. They wasted no time in releasing their first Australian hit in June of that year entitled ?Chulu Chululu?. It was a bright, sing-along song recorded live at the Rotorua Sound Shell in New Zealand. The talented Kiwis were quick to gain popularity, appearing regularly on TV (particularly on Bandstand) and working clubs around Australia. After repeating their initial chart success and refining their act even further, they left for America early in 1968. In the US they toured with the Supremes and Herb Alpert. The highlight of the tour was a mammoth performance at Central Park in New York. On their return to Australia, they established themselves as a top club act. In 1970, they joined Ron Tudor?s newly formed Fable label. Their first release, in July ?70, was a version of ?It?s A Small World? which, although a steady seller, didn?t quite make the top forty. They had several releases over the next four years including the patriotic ?Aussie? single in July 1974. However, their big chart re-entry came in January 1975 with ?Santa Never Made It To Darwin?. The song, of course, referred to the Cyclone Tracy disaster which devastated Darwin on the Christmas Eve just prior. It was recorded with the intention of raising funds for the appeal from royalties. Bill and Boyd?s aim was more than satisfactorily achieved when the record made number one nationally. Mid 1975, the duo released an album entitled Bill & Boyd (which Fable hope to revamp and re-release early in 1978) and hit the charts at the end of the year with ?Put Another Log On The Fire?. Although they had ceased recording by the end of 1977, they are still regarded as one of Australia?s top live acts. Singles: 26/ 6/64 CHULU CHULULU No.10 6 weeks Philips 18/ 9/66 EDEL WEISS No.38 2 weeks Philips 36 23/ 8/67 IF I WERE A RICH MAN No.24 5 weeks Philips 18/ 1/75 SANTA NEVER MADE IT No. 1 15 weeks Fable TO DARWIN 13/12/75 PUT ANOTHER LOG ON No. 6 14 weeks Fable THE FIRE
Lindsay Bjerre (pronounced bee-air) began singing quite by accident. He sang one night at a Tamworth hotel at the age of twelve. Being an impromptu performance, Lindsay was amazed to find he had been well received. At fifteen he bought a guitar and with some friends formed a group called the Sunsets. The group managed to get a contract with the Leedon label and released about five locally successful singles. Lindsay and the band were also responsible for the sound tracks to popular surf movies, A Life In The Sun and Hot Generation. Their most commercially successful sound track came later. It was for the movie Evolution, which was also shown overseas. The band evolved into Taman Shud (which included TIM GAZE ? later to play with Ariel). They developed a strong cultist following as a result of their highly creative material. Eventually, the band dissolved under the pressure of management problems and the fear of stagnation. However, another new band, Albatross, unfolded and perpetuated Lindsay?s desire for creative music. The group released an album, A Breath Of Fresh Air and toured with Frank Zappa. Lindsay left the group in 1974 to ?find himself?. He concentrated on theatrical writing and composing songs. During this period he developed the bizarre and romantic Bjerre image which included a hint of David Bowieism. In December 1976, he signed with Phonogram Records and began work immediately on his Steeling The Hours album. He toured with Manhattan Transfer in mid 1977. In late May, a single from the LP, ?She Taught Me How To Love Again?, was released. The record was slow to take off. However, it was spurred on by the amazing film clip which was screened regularly on Countdown and made the charts in October. A follow-up single, ?I?ll Take You Higher?, was released in November 1977. Single: 8/10/77 SHE TAUGHT ME HOW No.22 9 weeks Philips TO LOVE AGAIN
Original line-up: JOHN ROBINSON (guitar); NEALE JOHNS (vocals);AL KASH (drums);BOB FORTES QUE (bass guitar). The band surfaced in 1970 and were snapped up by Festival Records who immediately financed the recording of their debut album, Mountains Of Madness, which was released early in 1971. The highlight of the LP was a song called ?Seasons Of Change? which had originally been written by John for the band Fraternity. However, the track was so strong that Festival decided to release it as a single. It became an immediate hit. Meanwhile, Al Kash had left in March and was replaced by TERRY GASCOIGNE. Then, in August 1971, in a controversial move, Neale was sacked and replaced by HARRY BRUCE. However, Peter Cunningham of Nova Agencies, who had legal rights to the name, immediately formed a new, official Blackfeather with Neale as the leader. The new line-up was WARREN WARD (bass); NEALE JOHNS (vocals); JIM PENSON (drums); ZACK ZYTINICK (lead guitar);PAUL WYLDE (piano). In the meantime, John Robinson?s group lost Blackfeather?s following and disbanded a short time later. In December ?71, Zack left and the band sought no immediate replacement. The band?s sound had altered by this time and they featured the piano heavily (being an actual piano ? not electrified ? which was amplified using a microphone). During the intervening period, BILLY TA YLOR (ex-Flake) worked with the band on guitar. Jim left. He was replaced by TREVOR YOUNG and later GREG SHEEHAN. Then, mid 1972, they recorded ?Boppin? The Blues?, which was actually composed by the boys, despite the fact that the label credited Carl Perkins with writing it. The song actually bore little resemblence to the Perkins? old rocker. In any case, the song?s simple, rocking structure was a breath of fresh air amongst the maze of heavy, complicated records of the period. It became a number one hit. An album of the same name followed in December and another single, ?Slippin? and Slidin?? (a revival of Little Richard?s rocker), was released in January 1973. At the same time, the band experienced a change in sound with Paul leaving to be replaced by guitarist, LINDSAY WELLS. Finally, in March ?73, the band disintegrated when Greg and Warren left. A new Blackfeather formed around Paul Wylde, but this band was short-lived. Eventually, in early 1976, another Blackfeather came to the fore with a group of new, young players. It included only Neale from the original lineup. The new unit lasted only until November ?76, when Neale left to go to England where he joined a band called Fingerprint. Fingerprint seemed to suffer a similar fate to Blackfeather when it disbanded only to reform and return to Australia early in 1977. Singles: 26/ 6/71 SEASONS OF CHANGE No.15 16 weeks Infinity 19/ 8/72 BOPPIN? THE BLUES No. 1 20 weeks Infinity Album: 29/ 5/71 MOUNTAIN OF MADNESS No. 7 6 weeks Infinity
Line-up: RAY EAMES (guitar, banjo, vocals); RAY QUON (piano, moog, vocals); RON CHAPMAN (drums, vocals); CHRIS STUDDARD (bass, vocals); PHIL GOLOTTA (lead vocals). The band must certainly be one of Australia?s longest surviving groups, having formed originally in 1964. By the early seventies, the band had consolidated with the above line-up and gained a reputation as one of Victoria?s top pub groups. Phil was also becoming a successful songwriter with Jamie Redfern?s ?Hitch A Ride On A Smile? (which won the 1973 Australian Popular Song Contest) to his credit. In November 1973, they scraped into the charts with a tune which referred to several different artists and groups that were popular at parties at the time. The song was ?Going To A Party?. It sold particularly well amongst Melbourne hotel-goers. The boys also released two successful albums: Dancing In The Street and High-Heeled Rock?n?Roll on Image. In May ?77, Phil and Chris left and a new group called simply the Echoes emerged with ex-soloists ROD KIRKHAM and ROBIN JOLLEY in the lineup. Single: 24/11/73 GOING TO A PARTY No.40 1 week Image
Original line-up: TERR Y DEAN (lead singer); JOHN CREECH (drums);ED WA RD FRY (bass);MIKE BURKE (guitar, banjo). John played drums with the original Mixtures; Terry was a successful soloist in the mid sixties; Mike had played with groups in Wales before coming to Australia; and Edward had worked with various bands during the sixties. Bluestone formed in 1972. Before long they had built up a strong following in?Melbourne pubs. In the meantime, Brian Cadd of Bootleg Records, had been looking for a country rock band, so went to see them perform. Brian was knocked out by the group and signed them up immediately. The first single to be released was ?Wind And Rain?. It made the charts in July 1973. It was followed up by ?The Singer Sang The Song? in October ?73. Although the boys continued to release singles they had no more success in the charts. Up to the end of 1977, the band was still working Melbourne hotels and functioning basically on a part-time basis. Single: 14/ 7/73 WIND AND RAIN No.39 2 weeks Bootleg
BOBBY & LAURIE
See LAURIE ALLAN and BOBBY BRIGHT
BOOTLEG FAMILY BAND
Original line-up: GEOFF COX (drums); G US FENWICK (bass); TONY NAYLOR (guitar); BRIAN FITZGERALD (keyboards, wind instruments); ANGELA JONES (vocals); PENNY DYER (vocals); LOUISE LINCOLN (vocals). The band was formed by Brian Cadd for the Bootleg label late in 1972. Their function was to work at recording sessions for the label?s artists and provide backing for future tours. However, the group developed as an independent unit. In February 1973, they hit the charts with a cover version of Loggins and Messina?s ?Your Mama Don?t Dance?. The recording session was apparently an all-in Bootleg artist bash with Brian Cadd in particular making a vocal contribution. The Bootleg label managed to gather an impressive stable of artists within a very short period of time and, in April 1973, they set off on a national tour. In the meantime, the Family Band had added RUSSELL SMITH (on trumpet), making it a massive eight piece unit. In May 1974, they set off with Brian to the US where they appeared at Expo ?74. Throughout the year the band continued to develop with the growing popularity of the Bootleg artists. In September 1974, they again hit the charts with a revival of Betty Everett?s record of ten years prior, ?The Shoop Shoop Song?. Unfortunately, by April 1975, the band had become too expensive to maintain and were forced to disband. Undaunted, Brian Cadd had formed a new four piece band, basically for touring, within a few weeks. The line-up included: fEOFF COX (drums); TONY NAYLOR (guitar); CLIVE HARRISON (bass); and BRIAN FITZGERALD (keyboards). The new combination continued until later in the year when, with Brian?s departure from the label and his sights set on the US, they eventually split. Geoff, Tony and Clive stayed with Bootleg Records and reformed as Avalanche. Brian (along with Louise Lincoln), surfaced in 1977 with a band called Mumbles. Singles: 10/ 2/73 YOUR MAMA DON?T No. 4 17 weeks Bootleg DANCE 7/ 9/74 THE SHOOP SHOOP SONG No. 3 15 weeks Bootleg
KEVIN BORICH EXPRESS
Original line-up: KEVIN BORICH (guitar, vocals, flute); TIM PARTRIDGE (bass); JOHN ANNAS (drums). Kevin first appeared in Auckland, New Zealand in 1965, as a member of the La De Das. The group hit the top in their home country. In 1968 they moved to Australia. Over the next two years they built a strong following in Australia, and in 1970 they set out for London. Having found the overseas market difficult to crack, they returned a year later. In 1972, two of the members left, reducing the band to three pieces. It was at this point that the new Borich style began to emerge when Kevin found it necessary to concentrate more on his playing to provide a more complete sound than just plain lead guitar. The new look La De Das developed an even bigger following, and they had a number of successful records before splitting in mid 1975. Kevin attempted to form a new group. He came up with a recording called ?The End Of Me?, which was originally a Sherbet production. He was later taken under Clive Shakespeare?s wing after he left them. By mid ?76, the Express was formed with Tim and John. The band was signed by Image Records. In October ?76, the new group?s first single, ?I?m Going Somewhere? was released from their new Celebration album. The song was introduced by a train whistle sound. It became the band?s signature tune. In July, they recorded the new Lonely One album (released in November). On it?s completion, Tim Partridge left the trio. He was replaced initially by TIM A YERS (ex-Renee Geyer Band). Then, following Kevin?s ?look around? trip to the US in August, BOB JACKSON took over. November became a big month with the album?s release followed by the ?Tango Queen? single and an appearence at the blockbuster Santana/Fleetwood Mac show. Kevin?s style has begun to earn him a reputation as an updated Jimi Hendrix. Album: 21/ 5/77 CELEBRATION No.18 1 week Image
Mike first appeared on the scene in 1964 as a guitarist with Melbourne group, the Phantoms. Then, in 1965, he formed the enormously successful MPD Ltd. with Danny Finlay and Pete Watson. The trio released a series of hit records and became one of Australia?s most popular acts of the mid-sixties. MPD Ltd. eventually disbanded at the end of 1966 and Mike joined Johnny Young?s backing group, Kompany. Then, in August ?67, Mike formed a group to fulfill some of MPD?s overseas engagements and embarked on an international jaunt. By 1969, Mike (now back in Australia) had managed to combine a profitable career as an insurance agent with his activities as a performer, headlining his own hotel show band. During this period, he began to establish himself as an individual and developed his powerful, soulful singing talents. Eventually, Mike was snapped up by Fable Records. In January 1971, he hit the top forty with ?Sympathy?. This was followed up with ?Oh Lord, Why Lord?. However, further chart success was not forthcoming. From this point, Mike went on to establish himself as a top session vocalist and instrumentalist, as well as a talented composer concentrating on the lucrative field of advertising jingles. In fact, he has worked on everything from jean commercials to station identification. Single: 9/1/71 SYMPATHY No.39 1 week Fable
Tony began singing in the late fifties as a dance band vocalist. His main claim to fame, initially, was the fact that he looked and sounded like Frank Sinatra. In 1960, he worked with vocal group the Graduates for a five month period, during which time they toured with the Fabian Show. Then in January 1961, at the age of twenty-three, he signed with Coronet Records, and released his first single ?Angel In A Red And White Scarf?. The song sold moderately well, although it wasn?t until Tony moved to the Leedon label later in the year that he scored a hit with ?Big Things Are Happening?. Also in the early part of 1961, he compered a national Friday night radio show on the ABC called Mainstream For Moderns. Tony hit the charts again in March 1962, with ?A Penny For Your Thoughts?. Later in the year he embarked on a tour of Asia. Although he changed labels and went on to release more records (including a change of style, ?Let?s Stomp Australia Way? on RCA) over the next couple of years, further chart success eluded him. Eventually Tony gave up singing to take on show business management and promotion with Col Joye?s agency. Singles: 14/11/6 1 BIG THINGS ARE No.27 7 weeks Leedon HAPPENING 17/ 3/62 A PENNY FOR YOUR No.22 9 weeks Leedon THOUGHTS
Daryl, of course, rocketed to stardom as lead singer with legendary Australian band, Sherbet. He was born in Melbourne on January 11, 1949. His interest in singing showed from an early age. Daryl joined the school choir at primary school and later took up playing the guitar. In 1966, he made his pop debut with a group called Brightlights. From here Daryl worked with a few amateur bands (including House of Bricks and Samuel Liith) throughout the remainder of the sixties before joining Sherbet in 1969. By 1972, Sherbet had become Australia?s top band, having won the final of Hoadley?s Battle of the Sounds, and being voted best local group in the Go-Set Pop Poll Awards. In the meantime, as front man for the band and displaying both good appearance and singing ability, Daryl began to develop a complementary fan following. His popularity was unequalled by solo performers of the day. He was the obvious choice for the lead role in the musical extravaganza, Tommy. The show was staged only twice early in 1973 due to its magnitude. Daryl?s performance, however, was highly praised. Later in 1973, Sherbet?s popularity was confirmed by them again being voted Australia?s top band. By 1974, it was decided that Daryl should release a solo single. A revival of the Cilla Black song, ?You?re My World?, was chosen for his debut record. A number one hit in November ?74 was the result. Rumours (as had spread twelve months prior) were rife that Daryl would leave the group to go solo. But Daryl made it clear that his individual recording activities were simply an adjunct to the band?s recording activities and that his primary responsibility was to function as a member of Sherbet. Despite his continuing popularity, Daryl has adhered to this policy. The following year saw another solo hit with ?Cavalry?, and an ever increasing success for Sherbet. Also in 1975, Daryl was crowned King of Pop for the first time in the TV Week Awards, whilst Sherbet again took off the Top Australian Group award. By now the rumour-mongers had quietened down their talk about the possibility of Daryl?s split with the band and his solo releases had settled into a well-ordered complementary pattern. Daryl?s next release portrayed a change of style with the locally composed, lilting ballad ?Old Sid?. His different sound proved to be no less successful. It featured a more developed vocal style. Daryl and Sherbet again won the King of Pop and Most Popular Australian Band awards at the 1976 TV Week Awards. By now the band had set its sights on the overseas market. They had already achieved chart success in both the US and England with ?Howzat?. As 1977 emerged, the new Razzle label was established by Sherbet Record Productions Pty. Ltd. Daryl?s version of Linda Ronstadt?s ?Love Has No Pride? became the label?s first release. In the latter half of the year, Sherbet embarked on a do-or-die assault on the overseas market. Daryl and the rest of the band took off the top awards at TV Week King of Pop Awards for the third time in succession. With no sign of a wane in popularity, Daryl again hit the charts with ?Afterglow? in October 1977. Singles: 16/11/74 YOU?RE MY WORLD No. 1 17 weeks Infinity 13/ 9/75 CAVALRY No.10 11 weeks Infinity 1/ 5/76 OLD SID No. 5 13 weeks Infinity 2/ 4/77 LOVE HAS NO PRIDE No. 4 13 weeks Razzle 15/10/77 AFTERGLOW (OF YOUR No.29 5 weeks Razzle LOVE)
When Dave was nine years old, his parents bought him a guitar from a travelling salesman. He soon picked up the basics and showed such a keen interest that his parents decided to send him to top Sydney guitar teacher, Roy Royston. Within twelve months, Dave had made his debut on radio. By the age of fourteen he had become an accomplished musician, playing classical style guitar with a small group. When he left school, Dave took a job with a Sydney jewellery wholesaler where he discovered another of the boys working there shared his interest in music. The other lad was Col Joye and Dave encouraged him to learn how to play the guitar. Then, in 1957, Col formed the Joy Boys and Dave became the group?s lead guitarist. The band rose to prominence as Col produced a string of hit records. They displayed a tighter, more professional sound than most other groups of the era. As the Joy Boys built a reputation, so too did Dave ? as one of Australia?s most competent guitar players. Dave stayed with the group until he formed the Dave Bridge Quartet in 1961. The quartet consisted of DA VE (guitar); WARREN FOLEY (drums); KEN WHITE (bass); and RAY BURTON (guitar). (Ray later joined the Executives and also co-wrote Helen Reddy?s ?I Am Woman?.) Dave wasted no time in achieving chart success with ?Skip To My Lou? in July of that year. The Quartet became a highly acclaimed stage act and Dave became a regular on Bandstand and the Johnny 0 ?Keefe Show. By January 1963, he had again made the charts with his own composition, ?Tornedo?, and had reformed his band as a trio. The group included TERRY HEARNE (bass); BR UCE JANSON (drums); and, of course, Dave on guitar. The trio?s next single was Dave?s rocked up version of Tchaikovsky?s Swan Lake ballet simply entitled ?The Swan?. The record sold steadily in all capital cities (with the exception of Melbourne) and the trio embarked on a national promotion tour. The year saw two more hits for the group: ?Trail Blazer? and ?Bondi Stomp?, before Dave began concentrating on session work. Today he is one of the country?s most sought after producers and arrangers. He is also kept busy as Musical Director at Sydney?s Western Suburbs Leagues Club. Singles: 29/ 7/61 SKIP TO MYLOU*** No. 4 13 weeks HMV 17/ 1/63 TORNADO* No.28 4 weeks HMV 1/ 3/63 THE SWAN** No.22 6 weeks HMV 27/ 6/63 TRAIL BLAZER** No.32 3 weeks HMV 4/10/63 BONDI STOMP** No.25 6 weeks HMV * As Dave Bridge ** As Dave Bridge Trio ~?~?~? As Dave Bridge Quartet
BOBBY BRIGHT (See LAURIE ALLEN & BOBBY BRIGHT)
RAY BROWN & THE WHISPERS
Line-up (1965): RAY BROWN (vocals); JOHN MANNERS (bass guitar); LAWRIE BARCLAY (rhythm guitar); PAT JEFFREY (drums); AL JACKSON (lead guitar). Ray grew up in Hurstville, Sydney, and left school at the age of fifteen to become a clerk in the Customs Department. However, he had a particular passion for singing and teamed up with the Whispers (originally called the Nocturnes) when they were basically an instrumental group anxious to join the Beatle-boom. John?s interest in music started when his brother bought a guitar which he constantly borrowed and eventually mastered. Lawrie, who hailed from a musical family, began by studying piano and eventually branched out to organ and guitar. Pat originally hailed from Kempsey in NSW. He made his debut when he filled in for his brother on drums at a local ball. He made the move to Sydney in his mid-teens and played with various groups before settling down with the Whispers. Al was born in Queensland and moved to Sydney in 1958. His start as a guitarist came when a neighbour who was a musician, taught him a few chords and loaned him a guitar to practice on. Ray and the Whispers gained popularity almost immediately. They became regulars at Sydney?s famous Surf City, along with Billy Thorpe and the Aztecs. Their first record, a revival of Chubby Checker?s ?20 Miles?, made the charts in April 1965 and became the forerunner of a string of hits spanning the next two years. Then came what was probably Ray?s most popular single, ?Pride?, followed by ?Fool, Fool, Fool?, and the double-sider ?Midnight Hour?/?Now Is The Time?. The group rounded the year off with an album called Hits And Brass in November 1965. As the name implies, the LP featured a distinctive brass sound which was a refreshing change from the basic guitar style of most other bands of the time. The following year saw two more hits (?Tennessee Waltz? and ?Ain?t It Strange?). However, it also saw the break-up of the Whispers. Ray continued on though, forming a ?new? Whispers with three musicians from New Zealand. They included DAVE RUSSELL (ex-Ray Columbus and the Invaders, guitar); RON PEEL (bass); STEVE HARDY (drums). The new band was short-lived, although Ray kept singing. He eventually made his way to the US where he scored a contract with Capitol Records. The company spent a total of $30,000 on an album which, unfortunately, didn?t sell. Early in 1970, Ray returned to Australia sporting a new shoulder length hair and beard image. Still thinking positively, he formed a new country rock band called Moonstone (which included Pat Jeffrey of the original Whispers). Despite the fact that they were highly acclaimed, they were commercially unviable. Then, in Sydney in November 1971, Ray formed a lavish outfit called One Ton Gypsy. It was an eight piece group which featured three vocalists (Ray, ALLISON McCALLUM and GRAHAM LOWNDES), as well as ex-Twilight drummer, LAURIE PR YOR. The band went on to work as resident act at a Sydney disco and, in spite of numerous line-up changes, turned out some excellent live appearances. Although chart success was nearly eminent with a single called ?Steel Guitar? (released on Mushroom records in December 1973), the magnitude of the group seemed to cause its eventual demise. But, like they say ? you can?t keep a good man down. The latter half of 1977 saw Ray again performing around the traps ? bigger and better than ever. Singles: 18/ 4/65 No.26 7 weeks Leedon 16/ 5/65 No. 7 16 weeks Leedon 18/ 7/65 No. 7 16 weeks Leedon 24/10/65 No. 4 15 weeks Leedon 30/ 1/66 No. 5 15 weeks Leedon 6/ 7/66 No.20 7 weeks Festival 8/ 3/67 No.17 12 weeks Festival
Cohn was born in England where his mother was a successful variety performer. In 1948 the family migrated to Australia and settled in Melbourne. It was his sister, Gilhian, however, who was regarded as the family?s budding entertainer. At the age of seven she began taking singing lessons. In 1961, Gillian began singing at a 5 0/50 dance in the Melbourne suburb of Preston. It was through her that Cohn met the organisers and musicians. Eventually he got the chance to display his vocal talents. He won a spot at the dance as a regular singer. On leaving school, Cohn took on a job as salesman with a leading Melbourne emporium, whilst continuing to work part time as a rock vocalist. Eventually, through his appearances at dances and on the GO! show, his popularity had developed to the point where he signed with RCA Records. Cohn?s clean-cut good looks and powerful Roy Orbison style voice, helped him creep into the charts in October 1965 with a revival of Johnny Otis? ?Hand Jive?. However, no more chart success was forthcoming. By 1968 he had gone back to a steady job and worked cabaret only on weekends. Single: 3/10/65 HAND JIVE No.38 2 weeks RCA
Gaynor was born at Geelong in Victoria. She made her singing debut at a local theatre. At the age of eleven, she became a regular on Melbourne radio station 3DB?s Swallows Juniors. With a solid grounding behind her as an entertainer, by 1958 she had become a regular on Melbourne TV?s Channel 7. At the age of twenty, late in 1960, Gaynor went on to score a recording contract with W&G Records. She released a cover version of Edith Piaf?s ?Milord?. The single became the locally successful version of the song. By this stage, the vivacious blonde had gained herself a reputation as Victoria?s number one sex symbol. With good looks and talent prevailing, Gaynor went on to record local composer, Walter Edwards?, ?My First Love And Last Love?, which became her biggest hit. Her next single was another Edwards? composition, ?Is It All Over Now?. Although she produced no further top forty hits, Gaynor has retained both her appeal and interest in singing. Singles: 5/1/61 MILORD No.24 9 weeks W&G 15/ 6/61 MY FIRST LOVE AND No.22 3 weeks W&G LAST LOVE 10/11/61 15 IT ALL OVER NOW No. 5 15 weeks W&G
Ray was born on October 26, 1952 and grew up in the Melbourne suburb of Clayton. Whilst in his third year at Clayton Technical School, he formed his own band and played at parties, local dances and school functions. After leaving school, Ray worked briefly as a bank teller before joining Melbourne band, Redtime. Initially the band?s main claim to fame was the fact that they toured Australia as Johnny Farnham?s backing group. However, in 1972, Redtime moved to Perth where they became resident band at one of the city?s top night clubs. The group also became regulars on Perth television and achieved a high degree of popularity in the west before they returned to Melbourne in 1973. Back in Victoria, the band experienced no shortage of work in clubs and hotels. However, early in 1974, Ray decided it was time to pursue a solo career. Within a short period he had scored himself an energetic manager in Neville Kent. A host of bookings followed. Then came television appearances, and, by January 1975, his mammoth hit, ?Touch Me? had entered the charts. Ray?s punchy rock style was particularly popular amongst teenagers. He became a regular on pop shows Countdown and Bandstand. His next single was ?Love Fever?, which surfaced in July and enjoyed the same success as his first release. Although Ray was absent from the charts over the next two years, his career was certainly not inactive. He became compere of the TV series Rock?n?Roll Circus, and in July 1976, he moved to Sydney to take over hosting the five day a week national show, Flash ez. The show, which was screened via the ABC network, featured a pop news coverage as well as performances from a variety of rock artists. Meanwhile, another single, ?Little Boy Sad? (the old Johnny Burnette standard) came to light in May ?76. It was followed with Ray?s first album, Not So Pretty. The album was produced by Ross Wilson and was aimed at giving him a heavier image. One of the stronger tracks on the LP, ?Sad Rock?n?Roll? (a ballad written by Greg Macainsh), was lifted from it as a single. This was followed by a further single, ?Rock?n?Roll Lightning? in November 1976. Unfortunately, neither record nude the charts. Ray rounded off 1976 by touring as a compere with Status Quo. He then took a vacation-cum-look-around trip to England and the US. With no sign of his popularity waning, Ray moved into 1977, and in May came up with his third national hit single. The song was a remarkably close revival of the 1965 smash hit for Van Morrison?s group, Them, entitled ?Gloria?. In the meantime, Flasbez? popularity had reached a peak with over 1,000 fan letters being received each week. As a supplement to the series, a Flashez? Roadshow was introduced to tour near country areas in the vicinity of Melbourne and Sydney. However, the show?s frequency restricted Ray?s personal appearances. In July, another Burgess talent came to light with the release of a book of thirty poems by Ray called Love, Peace and Happiness. Another single, ?Midnight Cowboy?, came in September. But, perhaps because it didn?t follow his punchy rock style success formula, it failed to take off. Finally, in November 1977, the Flashez series came to an end. Ray moved to Channel 0 in Melbourne where he did the beach shows over the ?77/?78 summer. Singles: 25/ 1/75 TOUCH ME No. 3 14 weeks L&Y 12/ 7/75 LOVE FEVER No.11 11 weeks L&Y 16/ 7/77 GLORIA No.23 8 weeks Infinity
Ronnie was born Ronald Leslie Burns on September 8, 1946, in the Melbourne suburb of Prahran. His interest in music began at the age of eight when he bought a guitar with savings he had accumulated from his pocket money. He sang at school functions. By the time he was fourteen he had joined a rock?n?roll band with his brother, Frank. Then, in 1962, his interest turned to folk singing. For about twelve months, Ronnie performed in various coffee lounges around Melbourne. Then, along came the Beatles. He was instantly impressed with the new sound and formed Australia?s first successful long-haired group, The Flies. The band was very popular and toured Australia with a variety of overseas acts. In September 1965 (after two and a half years with the Flies), Ronnie left the group to pursue a solo career. He achieved almost instant success. In 1966, he was voted Australia?s second most popular (to Normie Rowe) male vocalist in the Go-Set Pop Poll. Also in that year he scored two hit records. By 1967 his popularity had peaked. His live performances created hysteria amongst his young fans. At the Sydney Easter Show, he did a solid ten day stint with Johnny Young and caused near riots with each appearance. Ronnie also commanded respect from other performers. In fact, his first two singles for that year (?Coalman? and ?Exit Stage Right?) were both written by the Bee Gees, who also supplied the backing vocals. In 1967 he scooped the pool in the Go-Set Pop Poll by being voted Australia?s top male singer, and in June, the ABC filmed a documentary called The Life Of Ronnie Burns. Over the following Christmas holidays, Ronnie broadened his talents by appearing in the pantomime, Alice In Wonderland. In the meantime, he continued his chart success with ?When I Was Six Years Old?, which had been penned by prestigious Australian composers, Max Rose and Brian Cadd (at that time part of the Groop). Then, in December 1968, Ronnie hit the No.16 spot nationally with the controversial ?Age Of Consent?. The song was the theme from an Australian movie of the same name and was written by ex-Twilight, Terry Britten. Ronnie?s next single, ?How?d We Ever Get This Way?, didn?t enjoy the same success. In fact, it was twelve months before he scored another hit. However, when he did he had his biggest selling record ever. The song was ?Smiley?. The lyrics told of a young boy who had been conscripted and sent to the unpopular Vietnam War. The hard-hitting words to the song echoed the feelings of the youth of the day. They showed their approval by buying over 50,000 copies which earned Ronnie a gold record in April 1970. Three months later, Ronnie left for London where he set the trip off with an appearance at the Miss Teen International Quest in Berlin with Bee Gee, Barry Gibb. The trip also coincided with his engagement and subsequent marriage to dancer, Maggie Stewart. Back in Australia, he released his controversial Virgo album as well as a single from it called ?The Prophet?. Although this was to be his last impression on the charts, Ronnie continued to record. In November 1972, he released his We?ve Only Just Begun album which featured a cover photo of him naked except for a fur draped over him. Despite the suggestive cover, the album was virtually middle-of-theroad and characterised his new ?nightclub? image. In July 1974, Ronnie again made the news when his new single, ?Changes?, was censored by Festival Records. A verse which was supposed to have strong sexual connotations was removed from the final release. Ronnie continues to be one of Australia?s most competent club acts. He is also a much sought after television performer. In fact, throughout April, May and June 1977, he compered the short-lived but well put together series, Long Play for the 0/10 network. Singles: 12/ 6/66 THE VERY LAST DAY No.19 l2weeks Spin 4/ 9/66 TRUE, TRUE LOVIN? No.17 9 weeks Spin 18/ 1/67 COALMAN No. 7 12 weeks Spin 21/ 6/67 EXIT STAGE RIGHT No.19 9 weeks Spin 4/10/67 WE HAD A GOOD THING No.36 3 weeks Spin GOING 13/ 3/68 WHEN I WAS SIX YEARS No.28 3 weeks Spin OLD 4/12/68 AGE OF CONSENT No.16 9 weeks Spin 20/12/69 SMILEY No. 2 20 weeks Spin 6/ 3/71 THE PROPHET No.25 6 weeks Spin Album: 22/ 2/71 VIRGO No.18 1 week Spin
Debra Anne Byrne was born March 30, 1957, in Melbourne. She was one of the four girls and a boy who made up the Byrne family. She took up dancing virtually as soon as she could walk. At the age of three she made her first public appearance at a ballet concert. Debbie went on to spend ten years studying classical ballet. She made her first professional appearance on (Melbourne) Channel 7?s Brian and the Juniors. By now she was also prominently displaying her singing talents and worked as a regular on the show. Then, early in 1971, she successfully auditioned for the 0/10 network?s Young Talent Time. As the show?s popularity spiralled, so too did Debbie?s, with her clear voice and cute appearance. Her management was taken over by the show?s producers, Lewis-Young Productions. Within a short period of time, it was obvious that she had built a strong individual following. Debbie recorded on four albums with the Young Talent Time team and, in June 1974, she entered the charts with her first single, ?He?s A Rebel?. The song was a revival of the Crystals? 1963 smash record and, aided by her constant exposure on the show, became Australia?s biggest hit single for that year. Debbie decided to play it safe with her follow up single by releasing another Crystals? oldie, ?Da Doo Run Run?. The difference here was that she updated the song by giving it a thicker, funkier treatment. She also released her first album during the latter half of the year called He?s A Rebel. Meanwhile, Debbie had begun to amass a collection of important awards. She had been presented with two logies (1973 and 1974) for the best TV Teenage Personality, and in 1974 and 1975 she was voted Queen of Pop. Debbie was also the recipient of a gold record award for sales in excess of 50,000 for ?He?s A Rebel?. Although her next two singles, ?Tell Sonny Not To Come? and ?Dirty 01? Man?, didn?t quite make the charts, 1975 was far from in-active. She made a host of television and club appearances and in September 1975, she travelled to England. Whilst there she appeared on the Cliff Richard Show. She also sang a duet with him. Cliff was so impressed with her that he acted as producer for her recordings at the famous Abbey Road studios. Her releases there were on the Interfusion label. Debbie continued on the TV and club circuit and in February 1977, she re-entered the charts with ?You Promised Me The Love?. Then, in September, she married her long time sweetheart, David Dudley. Her plans for 1978 include a new album featuring a move away from rock to a softer sound, and a TV special for the ABC with her old partner, Phillip Gould. Singles: 15/ 6/74 HE?S A REBEL No. 1 24 weeks Festival 7/12/74 DA DOO RUN RUN No. 8 12 weeks Festival 12/ 2/77 YOU PROMISED ME No.31 4 weeks L&Y THE LOVE
April grew up in Adelaide where her interest in music emerged at an early age. By the time she was twelve she had composed her first song, ?He?s My Bobby?, and had started singing publicly. Her big break came in 1962 when Johnny O?Keefe heard her sing and told her that she showed promise. This encouragement was enough to prompt her to leave school and take on singing as a full time career. Now in Melbourne, her management was taken over by Horrie Dargie. She was signed by Festival Records. In May 1964, she released a version of the Ray Price hit, ?Make The World Go Away?, backed with the song she had written four years earlier, ?He?s My Bobby?. The record sold well. April became much in demand for television appearances as well as discos, dances and hotels. Her follow-up single, ?What Does A Girl Do?, was released in March 1965. However, it did not enjoy the success of its forerunner. April continued to record and make live appearances all over Australia, including a stint on the lucrative Sydney club circuit. In 1967 she moved to CBS records and in December released her first single, ?See You Sam?. However, she was unable to re-enter the charts. Single: 29/ 5/64 MAKE THE WORLD GO No.15 5 weeks Festival AWAY
Brian George Cadd was born in Perth, Western Australia. At the age of ten, his mother gave him the choke between piano and tennis lessons. He chose piano and studied seriously for two years. Then, at the age of twelve, Brian?s mother entered him in a TV talent quest. As a result he was given the position of pianist in a junior band the station was forming for a children?s programme. From there Brian worked with his cousin?s hotel group, then joined a pop band formed by his school mates. His stint with the new group was curtailed a short time later when his family moved to Tasmania and finally to Melbourne. No sooner had the family settled into the new town when Brian began playing with a trad jazz band and then a modern jazz band. However, he became dissatisfied with the music he was playing and joined the Melbourne Castaways which, after a reshuffle of members, became the Jackson Kings. Then, in October 1966, Brian became a professional musician when he joined the Groop. They experienced several hit records in Australia and travelled to England where lack of success prompted them to disband. Late in 1969, Brian became part of a new band which had been created specifically for the overseas market. The group, of course, was Axiom. It seemed to follow its predecessor?s pattern of local success, but inability to crack the English market. Brian returned to Australia early in 1971. Individual success seemed to come his way almost immediately. His composing and production talents, which had emerged during his days with the Groop, were suddenly being sought after in both the advertising and pop fields. At the end of 1971, he teamed up with old Groop associate, Don Mudie, and released the single ?Show Me The Way?. The following year saw Brian continuing to write and produce. Midway through 1972, he joined forces with Fable Records? manager Ron Tudor, to form the new Bootleg label. Everything began to fall into place as Brian won the composer?s section of the Hoadley?s National Battle of the Sounds with ?Don?t You Know It?s Magic?. As a result, he represented Australia at the Tokyo World Popular Song Festival in November where he took out the Most Outstanding Composition Award. The song was also a hit for pop king, Johnny Farnham. 55 Meanwhile, Brian released his first, self-titled album in October. It met with immediate success, as did the ?Ginger Man? single cut from it. His major breakthrough came in January 1972, when Ron Tudor, acting for Brian, obtained a contract for the release of the album in the US on the new Chelsea label. Wes Farrell, the whiz-kid writer and record maker, owned the label. He showed immediate enthusiasm towards Brian. His first US single was ?Every Mother?s Son? rather than ?Ginger Man?. But this may have been a tactical error as the latter track was probably stronger. Then came Brian?s second album, Parabrahm, in July 1973 and the single from it, ?Silver City?. By now he was getting air play and seemed closer to his aim for overseas recognition of Australian records. Brian had already promoted his records in the US. Back in Australia in October, he produced a short series of half hour television specials for the ABC. Another single, ?Keep On Rockin?, was released in November 1973. Then movie maker, Tim Burstall, commissioned Brian to write the score for his film, Alvin Purple. The movie was a smash success, further boosting Brian?s career. In January ?74, the theme was released as a single. In the wake of his movie score success, Brian wrote and recorded the theme for the Class of ?74 television series. This was also released as a single in May. Unfortunately, to this point Brian seemed unable to crack the singles? charts, although this may have been due to the fact that he was regarded as an ?album artist?. In May he left for the US to appear at Expo ?74 during the following month. Then in September came a third album, Moonshine. This time a single from the LP ?Let Go?, did make the national top forty and the song received enormous recognition. In fact, it was successfully recorded in the US by Gene Pitney. The following year ? 1975 ? brought with it mixed success for Brian, with his album The Magic Of Brian Cadd, which sold only moderately. In December, newspapers reported that he had issued a Supreme Court writ against Fable Records for the recovery of $10,000 in royalties he alleged were owed to him. Determined to succeed overseas, Brian spent 1976 in the US and released an album entitled White On White. The highly acclaimed album was released on the Interfusion label and featured famous musicians such as Steve Cropper and Nigel Olssen. Throughout 1977, Brian continued to record and perform in the US. Future success for him there seems a virtual certainty. Singles; 21/10/72 GINGER MAN No.16 18 weeks Bootleg 28/ 9/74 LET GO No.14 13 weeks Bootleg Albums: 28/10/72 BRIAN CADD No. 2 20 weeks Bootleg 29/ 9/73 PARABRAHM No. 5 15 weeks Bootleg 28/ 9/74 MOONSHINE No.16 8 weeks Bootleg
BRIAN CADD & DON MUDIE
Line-up: BRIAN (vocals, piano); DON (guitar, bass, vocals). Brian ,and Don?s association began in the mid-sixties when they played together in the Groop. Their relationship as co-musicians and co-writers then came to the fore in super group Axiom. After the breakup of Axiom, they teamed up to record ?Show Me The Way?, which entered the charts in February 1972. Brian went on to pursue a highly successful solo career and Don concentrated on session work. (See also THE GROOP, AXIOM and BRIAN CADD.) Single: 19/ 2/72 SHOW ME THE WAY No.17 12 weeks Fable
CAPTAIN MATCHBOX WHOOPEE BAND
Original line-up: DA VE HUBBA RD (vocals); PETER INGLIS, PETER SCOTT, MICK FLEMING, JIM NIVEN, MICK CONWAY, DAN HICKS. Back in 1968, Mick Conway and his brother Jim formed the Jelly Jug Band as a joke to enter a talent quest. They won! The Captain Matchbox Whoopee Band emerged from the Jelly Beans in 1969. They began playing regularly at any venue that lent itself to their theatrical music style. In particular they played the Much More Ballroom in Melbourne. They organised a National Jug Orchestra from jug bands all over the country in April 1972. The band?s first single, ?My Canary Has Circles Under His Eyes?, hit the national charts in November ?72. However, they experienced a major split shortly afterward. In the interim came a single, ?I Can?t Dance (Got Ants In My Pants)?, and early in 1973 their first album, Smoke Dreams. After a period of recess, the band reorganised, and by September the line-up had consolidated to its more notorious format as follows: JIM NIVEN (piano); MICK FLEMING (banjo, mandolin, guitar); JIM CONWA Y (harmonica, kazoo, recorder); MICK CON WA Y (vocals, horn, uke); GEOFF HALES (drums); FRED OBLE (violin, guitar, harmonica); DAVID FLETT (sax, flute);DAN HICKS (guitar). Changes in line-up were characteristic of the band, perhaps because it was more a theatrical unit than a rock group. During 1974 two more singles emerged: ?Your?e Feets Too Big? and ?Hernando?s Hideaway?. At the end of the year came the Wangaratta Wahine album. It featured old standards as well as originals by Mick Conway and David Flett. Also during the year, JOHN SNYDER worked with them on guitar. The group became a TV regular and toured extensively throughout 1975. The year also saw the departure of Geoff and Dan to be replaced by CHRIS WORRALL (guitar) and MANNY PATERAKIS (drums), and was rounded off with their third album, Australia. The change was followed by Fred leaving, to be replaced by JACK SARAM. By mid ?76, another upheaval occurred when GRAEME ISAACS joined, filling Manny?s shoes on drums. The band then consolidated as a six piece unit (MICK C., GRAEME, MICK F., JACK, DAVID and GORDON McL EAN) and embarked on a campus tour. Then, in November, the group again reformed, becoming part of a fifteen member theatrical touring act set up by the Australian Performing Group. The whole group adopted the name Soapbox Circus, and two new faces ? PETER MULHEISSEN and RICK LUDBROOK appeared (David Flett was the notable omission from the new unit). A live album, The Great Stumble Forward, surfaced in June 1977. A single, ?If I Can?t Hay-Anna In Cuba? followed. The end of the year saw the band performing a play called Smack In The Dacks, and plans for 1978 included a new album. Single: 4/11/72 MY CANARY No.35 3 weeks Image HAS CIRCLES UNDER HIS EYES Albums: 4/ 8/73 SMOKE DREAMS No.20 1 week Image 1/ 9/75 WANGARATTA WAHINE No. 4 11 weeks Mush?rm
Warren hailed from Newcastle (NSW). He first came to the attention of rock?n?roll fans in 1960 as a pianist with instrumental group, The Keydets. The band played local dances. It also included Gil Mathews, who went on to work with Max Hamilton?s Impacts in the sixties and Billy Thorpe?s Aztecs in the seventies. 58 In 1961, Warren went solo and became a regular on Bandstand and Six O?Clock Rock. Although his style was his own, he was hailed as Australia?s answer to Floyd Cramer. He was soon scooped up by Leedon Records. His first hit was ?Li?l Ole Me? in August. It was followed with ?You Are My Sunshine? and ?Rondo? in June 1962. By 1963, Warren?s style had mellowed and his releases included a single of ?My Colouring Book? in June and an album entitled 50 Years Of Evergreens in August (featuring adult-type favourites). Warren went the way of most top musicians by moving into session work. Singles: 19/ 8/61 LI?L OLE ME No. 8 12 weeks Leedon 9/12/6 1 YOU ARE MY SUNSHINE No.21 9 weeks Leedon 2/ 6/62 RONDO No.10 11 weeks Leedon
Pat was born in Melbourne and started taking singing and dancing lessons at the age of eight. By the time she was eleven she was appearing on children?s television shows. From there she won parts in musical comedy shows such as Bye Bye Birdie and Carnival. Now in her mid-teens, she began to concentrate on the pop market, appearing on shows like Bandstand and GO! At eighteen she released her first record, ?He?s My Guy? (which sold moderately). Then, as a result of winning an award, Pat ventured to England where she met up with fellow Australian, Olivia Newton-John. At the suggestion of Seeker, Athol Guy, they teamed up to form a vocal act known as Pat and Olivia. The duo was successful both on TV and at clubs. However, Pat was eventually forced to return to Australia when she ran into work permit problems. Back home in 1970, she married John Farrar (ex-Strangers and part of Marvin, Welch & Farrar). She released a cover version of Dana?s English hit, ?All Kinds Of Everything?, which charted in June. Pat moved on to the Interfusion label and has continued to sing and record in Britain and America. Meanwhile, her husband has become a highly successful composer and producer for artists including Pat?s old friend, Olivia Newton-John. Single: 20/ 6/70 ALL KINDS OF EVERY. No.34 9 weeks Fable THING
Original line-up: GREG LAWRIE (guitar); IAN FERGUSON (bass); TONY L UNT (drums); JOHN CAPE C (piano). The band was formed originally in January 1970 as Carson County. However, they dropped the ?County? as they were being tagged with a country image. The group started out working mainly at discos. When John left early in 1971, they added two new members, BRODERICK SMITH (vocals), and IAN WINTER (guitar). They scored a record contract with the Havoc label, but no significant singles eventuated. Then, in mid ?71, Ian Winter left for a term and his place was taken by BARRY SULLIVAN (ex-Chain). Not long after, Ian rejoined, although in the meantime John had been replaced by MAL LOGAN (ex-Healing Force) and CARRY CLARKE took over from Ian Ferguson. Throughout the choppings and changings, the band?s manager, Rhett Walker (also then programme director for 3AK), decided that Broderick should be promoted as a separate entity as with Rod Stewart and the Faces. As a result, Broderick recorded ?Going On Down To The End Of The World? for the Image label. The single was not a big seller and it was not until September 1972 that chart success came with a record from the band called Boogie. At this point the boys had moved to Harvest Records and their line-up consisted of Greg Lawrie, Tony Lunt, Broderick Smith, Mal Logan, Gary Clarke and Ian Winter. Then came the Blown album in November followed by a single, ?Moonshine?, which was released by the band?s old label, Havoc. However, the band?s success seemed to spell their doom. Mal and Ian left, and by February 1973, the group announced that it had dissolved. The members all moved to successful groups and Broderick went on to form The Dingoes. Single: 30/ 9/72 BOOGIE No.30 5 weeks Harvest Album: 23/12/72 BLOWN No.14 2 weeks Harvest
Lineup: (1969) BARRY HARVEY (drums); WARREN MORGAN (piano); BARRY SULLIVAN (bass, vocals); PHIL MANNING (lead guitar). The highly acclaimed band formed originally in 1967 and early members included WENDY SADDING TON, CLAUDE PAPESCH and TIM PIPER. As is the case with many super groups, they were plagued with membership changes and featured over thirteen different line-ups. Throughout 1969 they established themselves as Australia?s top blues band and, in October, they released a single called ?Mr. Time?. Then, early in 1970, they added GLYN MASON (ex-Rebels ?guitar, vocals) and recorded their amazing Chain. . . Live album. Before the album was released they announced that they had split up, with Glyn going to London and Warren joining the Aztecs. However, Phil and the two Barrys went to Brisbane. By the time the album was released in September, they had reformed with MATT TA YLOR (ex-Genesis ? harmonica, vocals). The new Chain was quick to record a heavy blues song called ?We?re Groaning?, which was released early in 1971 under the title of ?Black And Blue?. It became their biggest single. The record was snubbed by radio stations, but sold mainly as a result of audience reaction to their live performances of the song. It was also released in the US on United Artists? Avalanche label. A follow-up single, ?Judgement?, came in July 1971 accompanied by more rumours of a split. The reports proved to be well founded as Phil departed to be replaced by CHARLIE TUMA HAl. The following month Barry Harvey dropped out and LINDSAY WELLS took over. The new format didn?t seem to click and finally disbanded in October 1971. However, just like the cat with nine lives, in January 1972 a new Chain surfaced as a trio featuring Warren Morgan, LAURIE PR YOR and Barry Sullivan. They relied on dominant piano as a substitute for guitar. Then, early in ?72, another album, Chain Live Again, was recorded, but it actually featured a re-union of old Chain members (Glyn Mason, Warren Morgan, Phil Manning, Barry Sullivan and Barry Harvey). Due to mixing difficulties, the album was not released until later in the year. Meanwhile Chain?s quorum formed a group called Mighty Mouse. This new band was not successful. Yet again, in early 1973, another Chain surfaced with the two Barrys, IAN CL YNE, MAL CAPWELL and Phil Manning. In its ?73 form, the band released singles including ?I Thought You Were My Friend? (August), ?Gonna Miss You Babe? (December), and the Two Of A Kind album (December). Then, in January 1974, whilst the group were touring Queensland, Barry Harvey decided to leave and stay put. He was replaced by TONY L UNT (organ, moog). The following month both Mal Capwell and Ian Clyne left and, although Chain again regrouped, the band met its final death midway through 1974. Phil went on to work solo and formed the Phil Manning Band in 1975. Then, in 1977, Phil formed a new band called, simply, Manning. Another album, The History Of Chain, was also subsequently released. Singles: 27/ 3/71 BLACK AND BLUE No.10 17 weeks Infinity 28/ 8/71 JUDGEMENT No.3 1 7 weeks Infinity Albums: 24/10/70 CHAIN... LIVE No.15 6 weeks Festival 23/ 1/71 CHAIN... LIVE* No.20 3 weeks Festival 25/ 9/71 TOWARD THE BLUES No. 6 15 weeks Infinity * (Re.entered)
Original line-up: ALAN ?EDGELL? JAMES (also known as ALAN WALKER) (bass guitar); ALLAN ELLIOT (drums); WILLY FERRIS (lead guitar); BARRY GALLAGHER (rhythm guitar). The group began in 1964 as the Beachcombers. In 1965 they began working for Garry Spry at Melbourne?s top disco at the time, Pinocchio?s, and changed their name to the Changing Times. With the new name came a change of image. All the boys dressed in mysterious black cloaks and bleached their hair blond. They made a tremendous impression on the local scene with their unique appearance and tight sound. Early in 1965, they signed with RCA Records. Their first single was a revival of Ronnie Hawkins? ?Mary Lou?, which charted in May ?65. This was followed up by ?It Ain?t So?, which charted three months later. Unfortunately, the group disbanded a short time afterwards with Willy and Edgell going to work in Queensland. In the early part of 1966, a new Changing Times emerged with Allan the only original member playing drums for the group. Other members were ALEX OPITZ (bass); L YN THOMAS (lead guitar); JENNY JOHNSON (piano, organ, harmonica). The new lineup had no successful recordings. However, they did become popular at local discos and dances. The following year the group split and merged with the Final Four to form the Dream. Singles: 2/ 5/65 MARY LOU No. 7 8 weeks RCA 8/ 8/65 IT AIN?T 50 No.22 6 weeks RCA
Graham was born at Watford, Hertfordshire in England on February 9,1949. His family migrated to Australia and settled in Brisbane where, by his early teens, Graham had become quite a proficient entertainer. His big break came when pop king Normie Rowe was conscripted for national service. Graham was seized upon to become his replacement. Thousands of dollars were spent on promoting Graham as the new king after Normie?s induction into the army in February 1968. His first record, ?Let Your Hair Down?, was not successful. Neither was his follow-up single. Graham?s third release was ?Gee I?m Gonna Miss You?, which became his only hit in May 1968. Graham continued to perform and record and future releases included a notable single for Columbia in June 1969, called ?Goodbye, Goodbye?. But despite the fact that he developed a strong following and achieved certain recognition, Graham did not manage to score any more hit records or to reach the upper rungs of the pop ladder of success. Perhaps the mistake was in promoting Graham in Normie Rowe?s shadow, and not simply as the talented individual that he was. Single: 29/ 5/68 GEE I?M GONNA MISS No.32 5 weeks Columbia YOU
Ronnie first rose to prominence in 1965 as lead vocalist with Melbourne group, the Jackson Kings, which also featured Brian Cadd on organ. In October 1966, Ronnie and Brian joined the Groop after a reshuffle in lineup. They both rode the crest of the band?s wave of success. (See section on THE GROOP.) After having reached the top in Australia, and then attempting to crack the English market, the Groop finally disbanded in May 1969. Ronnie then decided to pursue a solo career. His first single, ?Katy Jane?, made the charts. However, his followup, ?It?s Been So Long?, didn?t do so well. In April 1970, he formed his own band called Captain Australia and the Honky Tonk. The line-up included ex-Groop drummer, Richard Wright. The group was short-lived. By January 1971, Ronnie had formed a new band with the intention of taking on the English market. At the time of their departure they were unnamed. However, they later became known as Atlas. The band was plagued with membership changes and took some time to get off the ground. Then, late in 1972, they were signed by Reprise Records in London and released an album and a single. Unfortunately their releases received no great recognition. Single: 3/1/70 KATY JANE No.36 3 weeks Festival
Line-up: (Early 1965) DOUG TREVOR (lead guitar); PETER TINDAL (bass guitar); BARRY WINDLEY (drums); LINDSAY MORRISON (rhythm guitar). The band was formed in 1961 by Johnny Chester to back Melbourne vocalists at local dances. The name was not derived from the Cherokee Indian tribe, but from an ice cream that was popular at the time. They gained momentum over the next few years and recorded some instrumentals of which the most notable was ?Moon In The Afternoon?. The lineup changed over this period, with Barry remaining the only original member. By early 1965, they had consolidated with the above line-up and had adopted a new image and sound. Doug had played with the Marksmen and had met Lindsay whilst working together in the same department of the Public Service. Peter had worked with various bands. All the boys were competent vocalists. Peter especially wowed budding musicians amongst dance and disco audiences (particularly at Tenth Avenue in Melbourne), with intricate bass patterns played with incredible speed. The group also conquered TV pop show audiences. By mid 1965 they had been signed by the GO! label. Their first hit came in August with ?I?ve Been Trying?. The follow-up, ?That?s If You Want Me To?, charted in December. In 1966 they had two more successful singles including a tight revival of the Crest?s 1959 hit, ?The Angels Listened In?. They gained a national following as a result of extensive interstate touring. By the new year came a change of style to an almost semi-jug band sound, as well as an alteration to the lineup. The members now consisted of MAX BILNEY (drums); KEVIN ROSS (vocals); and old faithfuls Doug Trevor, Lindsay Morrison and Peter Tindal. Lindsay was subsequently replaced by MARTY VAN WYK (ex-Throb) who took on lead guitar and Doug moved to rhythm. A peak of success came also in 1967, with the group producing their two biggest hits, ?Oh Monah?, which was followed by an album of the same name, and ?Minnie The Moocher?. Both songs were revivals of old Nat Gonella hits, and ?Minnie The Moocher? was actually written in 1931 by the original ho-de-ho man, Cab Callaway. Unfortunately, 1968 brought with it a legal battle over their recording contr~ct. Also, later in that year Marty was replaced by MIKE McG UIRE. In August, however, they released another single called ?Sally?, which had been produced by Brian Poole during his Australian tour. The record didn?t quite make it, although it did comply with their apparently winning formula of reviving vintage hits. In October 1968, they toured with the Monkees and many pop critics claimed that they out-performed their overseas counterparts. A short time later, the band disintegrated with the boys going separate ways. Doug went on to cultivate his songwriting talents. In 1977 he won the Australian Popular Song Contest with his composition entitled ?Ride, Ride America?. He went on to the World Contest at Tokyo in November and took out the outstanding song award. Singles: 8/ 8/65 I?VE BEEN TRYING No.36 6 weeks GO! 26/12/65 THAT?S IF YOU WANT No.39 4 weeks GO! ME TO 20/ 3/66 THE ANGELS LISTENED No.22 8 weeks GO! IN 17/ 7/66 WOMAN WITH SOUL No.24 6 weeks GO? 11/ 1/67 OHMONAH No.18 lOweeks GO! 17/ 5/67 MINNIE THE MOOCHER No.17 16 weeks GO!
Original line-up: GRAEME TROTTMAN (drums); LES STACPOOL (guitar); ALBERT STACPOOL (piano); FRANK McMAHON (bass guitar). The band was formed in 1961 by Johnny Chester to become his backing group. They became regulars at the Preston Town Hall dance in Melbourne. It was reported that the promoter made some derogatory comment about their musical ability. Apparently his criticism prompted them to spend a solid twelve months rehearsing and studying musical theory. The result was that the Chessmen became one of Australia?s most proficient rock bands. By mid 1962, they began providing Johnny Chester?s backing on record and went on to record themselves for W&G. They also started writing some of their own material, including a little ditty called ‘Dracula’s Den.
John Howard Chester was born in Melbourne on December 26, 1941. His first involvement in entertainment was as a comedy actor in primary school plays. His musical career started with his partici¬pation in’the school band as a drummer.
When Richard left school, he became a commercial artist. At the same time he took up guitar and seemed to master the instrument almost immediately.
Original line-up: MICK HADLEY (vocals); ROBBIE VAN DELFT
RAY COLUMBUS & THE JNVADERS
Line-up: RAY (vocals); JIMMY HALL, DAVE RUSSELL, BILLY KRISTIAN, WALL Y SCOTT.
Cohn was born in Dacca, Bangladesh, and moved to Australia with his parents in 1952. His family settled in the Melbourne suburb of Brighton. His interest in music inspired him to take up the guitar. Then, after finishing school, he studied clarinet and sax.
Bobby grew up in Melbourne. He was educated at the Christian Brothers College in Clifton Hill, where he sang in the school choir. His musical inclination stirred in him a burning desire to play bag¬pipes in a Scottish pipe band. However, after studying the instru¬ment for only two months, his patience ran out.
COOL BANANAS (i.e. AUNTY JACK & THE GONG)
The Cool Bananas was actually a pseudonym for Grahame Bond and Rory O’Donoghue, who were the stars of the ABC’s Aunty Jack show. The programme was a highly successful, bawdy television comedy which, despite its popularity, was dropped after only two series.
Amen Corner were the top Welsh group in 1966. They came to London and found success on the Deram label. They scored with 'Gin House', 'World Of Broken Hearts', 'Bend Me, Shape Me', 'High In The Sky'. Then they transferred to Andrew Oldham's ill-fated Immediate label, and scored their first no. 1. 'Half As Nice', followed by 'Hello Suzie'. The group was swamped as such by the collapse of the Immediate label; dropped the bass section and signed with RCA as Fairweather, releasing 'Road To Freedom' and 'Natural Sinner'. Andy Fairweather Low was still singing into the 70's. One of his last albums was 'Spider Jiving'. Neil Jones (lead guitar) later became a photographer. Blue Weaver (organ) had spent some time with the Strawbs, and Allan Jones (sax) formed Judas Jump. Dennis Bryn (drums) became part of the Bee Gees backing group, while Mike Smith played tenor sax, and Clive Taylor played bass.
Johnny started singing professionally in 1964 with Melbourne group, the Saxons.
Original line-up: GREG QUILL (vocals, guitar); JOHN WALSH (bass guitar); CHRIS ANDERSON (harmonica); ORLANDO AGOSTINO (guitar); DAVE HANNAGAN (drums, percussion, vocals).
Barry grew up in the Victorian city of Geelong where his interest in music began at an early age. He started out in a small way in the mid-fifties working at local venues. At the age of nineteen, he married his teenage sweetheart, Dana. At this point he recorded an EP for the Spotlight label entitled Whole Lotta Shakin’.
Original line-up: ROSS WILSON (vocals, guitar); ROSS HANNA¬FORD (lead guitar); GARY YOUNG (drums); WAYNE DUNCAN (bass guitar).
Frankie was born in the Melbourne suburb of Black Rock and began singing to amuse his fellow servicemen. By the mid-fifties he had become a regular featured vocalist at the Ziegfeld Palais Ball¬room in Melbourne. Frankie worked there with Max Bostock and his Rockets. He also recorded a series of rock’n’roll EPs on the Dance-land label. These recordings made him Melbourne’s pioneer in the rock field.
Bryan was a Sydney based singer who came to the attention of rock fans in 1959. His clean-cut good looks and comparatively mellow rock style made him ideal for the TV pop shows of the era, particularly Bandstand, on which Bryan became a regular.
Terry was born on December 26, 1945. He was educated at St. Bernard’s College in Melbourne where he had his first singing experi¬ence in the school choir.
Grantley’s real name was Grantley De Zoeta. As he was growing up with his parents in the Melbourne suburb of Balwyn, his one burning ambition was to become a disc jockey. However, Grantley was blind and it seemed impossible for him to fulfill his goal. But he possessed incredible courage and determination, and, in 1962, he started training at a radio school.
DE KROO BROTHERS
Line-up: LEO DE KROO (guitar, vocals); DOUG DE KROO (guitar, vocals).
Original line-up: IAN (PEE WEE) WILSON (bass, vocals); NOEL
Steve was originally from the UK where he had worked with a band called the Mysterys. He migrated to Australia and became popular at Melbourne’s Sunday afternoon charity pop shows held at Festival Hall where he appeared with the Phantoms.
Line-up: ALLAN CR0 WE (bass); TEX IHASZ (guitar); PHIL
Johnny was born on May 11, 1938, in Wanganui on New Zealand’s north island. His parents had been entertainers in the country and western field, so Johnny grew up in a musical environment.
Original line-up: BRODERICK SMITH (vocals); KERRYN TOL¬HURST (guitar); CHRIS STOCKLEY (guitar); JOHN STONGIE (bass);JOHN LEE (drums).
Line-up: SHARYN CAMBRIDGE (vocals, guitar); WARWICK
Peter John Doyle was born on July 18, 1949. He went to school at Marylands High School in Melbourne. He started singing at the age of nine, and over the next three years he became a regular per¬former at hotels and night clubs. Peter also became a member of Swallow’s Juniors (a TV series featuring youthful entertainers).
Line-up: (1975) MARC HUNTER (vocals); ROBERT TAYLOR
In fact, there was no such band as Drummond. The concept was created to take advantage of the popularity of Daddy Cool and of the song of the same name.
Denice Anne Christina Drysdale (she swapped the ‘c’ in Denice for an ‘s’ during her school years) was born on December 5, 1948 and grew up in Melbourne. She first came to the attention of pop fans as a dancer and mimer in the Kommotion TV series during the mid-sixties. At this point she released two singles on the Phono¬vox label, ‘Baby Neemus’ and ‘Rescue Me’ (which was released again in 1975).
Allison started singing at the age of five when she joined a child¬ren ‘s choir in Auckland, New Zealand where she grew up (her bro¬thers and sisters also took part). From there she developed as a solo vocalist. At fourteen she recorded ‘Can’t You Hear My Heart Beat’, which made the local top twenty.
Slim was born David Gordon Kirkpatrick in Kempsey, NSW. He spent most of his younger days in the farming settlement of Nulla Creek. His interest in singing must have been stimulated by his father who would vocalise to the accompaniment of his fiddle while Slim was still a toddler.
Original line-up:- HARRY VANDA (lead guitar); GORDON ‘SNOWY’ FLEET (drums); STEVIE WRIGHT (vocals); GEORGE YOUNG (guitar); DICK DIAMONDE (bass). The group’s formation stemmed from George and Harry ~s meeting at the Villawood Migrant Hostel in Sydney. All the boys had migra¬ted to Australia with their families. George was born in Glasgow on November 6, 1947. Prior to his leaving Scotland, he had been a schoolboy soccer champion. Snowy was born on August 16, 1945 in Engl~.nd where he had played with the Mojos (who were later managed by Beatles’ manager, Brian Epstein). Stevie was born on December 20, 1948 and lived in Leeds. Harry was from Holland where he played with top Dutch group, the Starfighters. He was born on March 22, 1947. Dick, also from Holland, was born on December 28, 1947. The boys got together as a band and, with the addition of the last member, Snowy, the Easybeats were founded in the winter of 1964. For the first two months they practised solidly. They began playing at dances, in many cases for no pay. In December 1964, they were introduced to Mike Vaughan. After watching them perform, Mike negotiated with the group to become their manager. His first big publicity ploy, in January ‘65, was to hold a cocktail party at a dance and officially launch the band to djs and the industry in general. It was a great success and they went on to obtain a recording contract with EMI. Their first record was made for Albert Productions and was re¬leased through the Parlophone label. Although ‘She’s So Fine’/’The Old Oak Tree’ was their first single to break nationally, ‘For My Woman’/’Say That You’re Mine’ was actually released earlier. The main difficulty was that at the time, Parlophone was only involved with local artists in a small way and distribution and promotion was restricted. So the boys took copies of their records around to radio stations themselves, in order to obtain airplay in Sydney. The band’s breakthrough in Melbourne and the rest of Australia occurred when Ron Blackmore (Bobby and Laurie’s manager) heard about them and travelled to Sydney to see them. Ron was very im¬pressed. On his return, he began promoting them heavily in Mel¬bourne. The group visited down south in March ‘65 and were an instant hit with Melbourne audiences. Over the next six months, the band became Australia’s top band, creating excitement wherever they went. In the meantime, the magic composing team of Vanda and Young, which became such an enor¬mous songwriting legend in the seventies, had already developed, creating exciting and different songs on each record. Also in 1965, they released their debut album called Easy which became one of the year’s best sellers. By early 1966, they had conquered the domestic market (having had six hits in a row and two good LPs, including their second album It’s 2 Easy). They decided to tackle England. On July 10, they left for the UK and, following a brief period of adjustment, began recording. The resultant single, ‘Friday On My Mind’ became the sensation of their career. It made the British charts in November ‘66 and reached the number six position. Whilst in Australia, it became the group’s third number one hit. In the US, the record eventually made the charts in May ‘67 and went as high as number sixteen. Meanwhile, in October ‘66, they released their third Australian album entitled Easybeats Volume 3. The band was now an international success, but their popularity was still strongest in Australia. They were voted Australia’s top group in the Go-Set Pop Polls of 1966 and 1967. In May of ‘67 they returned for a national tour. The tour was, of course, successful, but the following month Snowy announced that he was leaving the group for personal reasons. He settled down in Perth. Snowy’s place was taken by TONY CAHILL (ex-Purple Hearts). As well as having two hit singles over this period, they released their first album in the US under the title of Friday On My Mind. As a result of their record sales in the US, the band set off on an American tour with Gene Pitney in August ‘67. But, despite the success of Friday On My Mind, and hit singles in Australia, it wasn’t until April ‘68 that they scored their next overseas hit when ‘Hello How Are You’ made number twenty on the British charts. In the meantime, a new album was released entitled Vigil, and in the US a second LP, Falling Off The Edge Of The World was put out. Vigil was different from their earlier works in that it contained such a variety of material — old standards, original compositions, easy listening songs, psychedelic songs and only a hint of rock. Then came a change of label to Polydor and, in the US, a contract for release of material on Tamla Motown Records’ Rare Earth label. The group’s first release for Polydor was ‘St. Louis’ which sold in Australia and was even a mild hit in the US. Unfortunately, it was to be their last chart success. An album entitled Friends (from which ‘St. Louis’ was lifted) was released and coincided with another Aust¬ralian tour in the spring of 1969. During the tour, their old label (Parlophone) put out a single called ‘Peculiar Hole In The Sky’. The boys were unhappy about its release as the song was recorded origi¬nally only as a demo disc when the composition was presented to the Valentines. Naturally, the record didn’t sell and by now the band’s direction had changed completely from the exciting rock style that had brought them success. By the end of 1969, their popularity had begun to wane. Early in 1970, they finally disbanded. Harry and George returned to London where they worked as pro¬ducers, songwriters and session men. In the UK, they released an album under the name of the Marcus Hook Roll Band before return¬ing to Australia where they have become probably our most success¬ful songwriting/producing team (see FLASH & THE PAN). Stevie initially formed a band called Rach-ette and in 1974 re-emerged as a top solo artist (see STEVIE WRIGHT). Tony returned to England to join Python Lee Jackson, and Dick, who was suffering from mental strain, dropped out of the scene. The group is still regarded as possibly our most successful. Their Best Of The Easybeats, volumes one and two, are consistent sellers. A further album, The Shame Just Drained (containing fifteen pre¬viously unissued tracks) was released in October 1977.