One of the most beautiful rock’n’roll venues in the world is based on the gods and goddesses of Ancient Rome – in downtown Melbourne, Australia. Carefully preserved set lists backstage, and sculptures of Apollo and Diana hang over the famous stage curtain. Enjoy the digital exhibition.
Jenny Valentish talks exclusively to ARIA Hall of Fame inductee – Patricia Amphlett, Chrissy’s cousin.
In the glamorous surrounds of Sydney’s QT hotel, Patricia Amphlett settles into a houndstooth armchair to summarise her life’s greatest hits into my dictaphone. Then she leaps up to mount a sofa and watch the Palestinians’ protest march pass by on Market Street.
“Wonderful,” she says, beckoning me over for a good view out of the window. Beneath us, the parade furls around onto George Street, bookended by police on horseback.
“They had so many women leading the march last week,” she says in approval; then patiently explains to a curious tourist what the purpose is of holding such a protest in Australia. Patricia has a way of speaking that’s both measured in pace and passionate in language, quite similar to her cousin Chrissy.
We first met when the campaign began for a Chrissy Amphlett laneway. Patricia toured potential laneways with Jessica Adams and Chrissy’s husband Charley Drayton and I. She enlightened us on what obstacles we may run into through the approval process, in the way that only someone who has recently been awarded a lifetime membership of the Labor Party can.
Pictured: the last stage of a search for a laneway for Chrissy begins with Jenny Valentish, Charley Drayton and Patricia’s husband, Lawrie Thompson
And now we’re here to reminisce on some key points in her career, and talk about what wonderful memorabilia she has stashed away at home that she can contribute to the digital Australian Music Museum – such as a photograph of the ‘It’s Time’ T-shirt she wore during the Gough Whitlam campaign, or the high-heeled Charles Jourdan sneakers that she’d worn on stage during the late-’60s.
Let’s go back to that first decade of Little Pattie’s career. Unusually for an era in which cover versions were king, her earliest material with EMI – ‘He’s My Blonde Headed Stompie Wompie Real Gone Surfer Boy’ and ‘Stompin at Maroubra’ – was written specifically for the fourteen-year-old, capitalising on her cute blonde bangs and surfie wardrobe. But I wonder if she was actually as acquainted with a surfboard as the Beach Boys were – i.e., with the exception of Dennis Wilson, not at all.
“I did attempt to ride a surfboard or two, but when you’re fourteen and you live near the beach, the two main reasons for going to the beach were boys and getting a sun tan,” she admits. “I don’t think I was successful in either of those wishes. As much as we lay there and giggled in our tiny triangle bikinis, the only time the boys came with us was when they were hungry. They’d rock up and say, ‘Any youse girls going to the shops?’”
These days a teenage act signed to a major record company might expect to be groomed and marketed within an inch of their lives, but Patricia remembers having to be much more of a self-starter than that.
“The executives and producers at EMI were fantastic towards me,” she acknowledges first. “Money wasn’t an issue and they protected me; I know that recording companies aren’t as supportive these days and the cost is carried by the performers and musicians. But there was no team as such. When I think of Chrissy, she had quite an entourage around her on occasions. I’m not sure I would have liked that.
“I think we were all genuine pioneers of the pop industry, thrown in at the deep end,” she says of her peers, such as Lynne Randell, Noeleen Batley, Marcie Jones and Betty McQuade. “We learned our craft as we went along. I had singing lessons and piano lessons, but that was all my training.”
While the moniker Little Pattie suggests an artist of inconsequential importance, she has disproved this time and time again by aligning herself with causes. In 1972 she spearheaded Gough Whitlam’s ‘It’s Time’ campaign (and is still a board member of the Whitlam Institute – part of the University of Western Sydney).
“My family would sit around and talk about politics, though it’s still considered fairly impolite to do so in public” she laughs. “My parents were Labor people and for what I thought were very good reasons. In 1972 it felt like the pendulum had swung and Labor could win the election. Gough Whitlam was charismatic and a man of integrity. People who had some overseas experiences, perhaps in Europe or America, felt that Australia was in the doldrums and culturally very starchy. It was time for a change.”
Jingle writers at an advertising company were employed to write the famous ‘It’s Time’ track, with some 50 household names filmed for the commercial. “We were sick of Australia going backwards,” Patricia says of the sentiment that united them.
In 1976, Little Pattie went off to Vietnam to entertain the troops – and she still counts them as her faithful fans – and friends – appearing at a Vietnam Veteran’s Day concert in Brisbane recently on August 18th.
“They’re my heroes really,” she says. “I think they’re under-recognised and misunderstood, because that particular war we had to learn quite a bit from in terms of how to treat soldiers when they come home. These days you’re offered counselling and treated very differently. The public felt as though we’d ‘lost’ the Vietnam War, which was an incredibly unpopular war anyway, and so our troops didn’t come back as heroes. But the government sent them there.”
Patricia carried on this tradition by playing to troops in Iraq in both 2005 and 2006. Not many recording artists could say they’ve stayed in one of Saddam Hussein’s old palaces, but then not many artists stay the distance when it comes to their beliefs.
“Going to Vietnam changed me as a person in a positive way, because until I was seventeen, I was spoon fed,” she says. “None of us had to do much deep thinking about things and we accept everything around us. Going to a war zone and seeing such horrible things, and seeing soldiers just a little younger than I, wondering why they’re there, it shaped the way I am today, to a great degree.”
In 1986, Patricia married Lawrie Thompson, then the drummer with the Channel Nine orchestra and band. They met when she appeared on daytime television. “People would say, ‘Oh, you both married drummers,’” she laughs, referring to Chrissy’s husband (and former Divinyls drummer) Charley Drayton. “And Chrissy would say, ‘Yes, but mine’s black.’ She was outrageous.”
YouTube Video: Chrissy Inducts Little Pattie – ‘Aria Hall Of Fame’ 2009
While it’s little known, Patricia and Lawrie were leading a double life in Quorrobolong on the edge of the Hunter Valley. They both completed a class in animal husbandry at tech (Patricia topped the class) and then bred Murray grey cattle, learning how to farm as they went along. After ten years they gave up the farm when Lawrie got an enviable gig drumming in Sydney six nights a week. “We never quite became hardened farmers – we had to ear tag them, of course, but on the tags we put the names of jazz musicians and rock musicians instead of farmers.”
It was about bloody time, when Patricia Amphlett was inducted into the ARIA Hall of Fame in 2006 – by none other than Chrissy Amphlett. “She was a lot sicker than she said she was,” Patricia says sadly. “She was so brave and beautiful to do that.”
In her speech, Chrissy says of Pattie, “She was my hero when Mum would gather us around to watch Bandstand. Tricia was a super star in the ’60s, which was a tough call. She was determined to survive and succeed, and she’s done just that.”
Chrissy shared with the audience Patricia’s work with Vietnam veteran amputees: “She’d take a delegation of them to Vietnam and they’d sit in front of the Vietcong amputees and try and forgive each other. She’d sit at the end of the table, and two former enemies were brought together by Little Pattie – this 4’10” woman in her high heels and battle gear, sitting weeping alongside these burly men, also weeping.”
The icing on the cake was a “lovely letter” from Gough Whitlam, offering his congratulations.
Patricia continues to be a high achiever, managing to fit in performing, music teaching (Nikki Webster is a past student) being president of the MEAA, board member of the National Film and Sound Archive; a trustee of the Jessie Street Trust and a patron of Forces Entertainment.
At exactly ten years Chrissy’s senior, Patricia says she gave the Divinyls singer advice when she asked for it, “but she didn’t need it really. I didn’t realise I was a pioneer in my era, but she was the best pioneer, because she made it de rigeur for women to front a band and be equal, if not superior, to men. Before she came along… no matter how many hit records I had, I never topped a bill, because it was a bloke’s business. It’s quite amazing that female performers are as supportive of our male colleagues as we are.”
The idea of a laneway in Chrissy’s honour is one that Patricia feels strongly about. “I thought: of course! Why not? It’s a given. Most of my family is from Melbourne so I was aware of all the lanes named after famous people. I will be eternally grateful to all the people involved in this wonderful campaign and I think we’ll all cry when it happens,” she says. “Chrissy would get off on it big time. So often, I say, ‘Why isn’t she here?’ She’d love the I Touch Myself project and she’d love the laneway. She’d probably say to me, ‘That’s my lane!’ and be childlike with her love for it. She’d walk up and down it, probably incognito, sussing out who was walking along her lane and who was looking at her name.”
Midnight Oil went on the road in 2015 in the form of a travelling exhibition visiting Sydney, Newcastle, Melbourne, Canberra, Riverina, Southern Queensland, and Wollongong. Ross Heathcote, Curator & Public Programs Coordinator, Manly Art Gallery and Museum, spoke to AMMP about one of the most successful mobile museums Australia has ever seen. The Midnight Oil exhibition showed everything from the famous Sydney 2000 Olympics ‘Sorry’ suits – to long-forgotten posters.
The exhibition of Midnight Oil’s was a huge success at the Sydney exhibition hosted by the Manly Art Gallery and Museum – what were the final numbers?
Yes, a huge success in many ways, not only big numbers (18,000 in Manly over a short few weeks, and even more at Newcastle), but really rich visitation with great experiences and some genuine interactivity.
There were thousands of Oils fans visiting of course, but also visitors who had never heard of the Oils. At Manly there was much interstate and overseas visitation. We were thrilled. We hosted several special events include a world premiere screening of the full ‘The Making of 10,9,8,7,6,5,4,3,2,1’ documentary by Robert Hambling, and some great Q&A evenings which featured Rob Hirst and Jim Moginie from the Oils.
How was your Newcastle season?
We have just pulled down the The Making of Midnight Oil exhibition in Newcastle. It looked great in the old train sheds (now Newcastle Museum). Our exhibition is based around stages and risers…real ones, with the real Midnight Oil roadcases converted into showcases. Along with the graphics, a hundred or so gig posters, original lyric scrawls and many brilliant audio-visuals, the band’s instruments and other artefacts, the exhibition had a truly authentic and unique rock’n’roll look.
Newcastle was a perfect host venue for the show. The town has a fine pub rock tradition that is maintained there. One of the highlights at Newcastle was an evening event focussing on songwriting: the panel consisted of Rob Hirst, Dave Faulkner (Hoodoo Gurus) and Dave Mason (The Reels). Apart from the fascinating, revealing and iconoclastic discussion, each of them also played or sang. I’ve never seen a happier museum audience.
Did you and the other exhibition organisers Rob Hirst, Virigina Buckingham and Wendy Osmond make any major changes to the Newcastle exhibition?
We worked closely with Newcastle museum staff to adapt the show to their space and add some local content. How could we go to Newcastle and not refer to the earthquake gig and the legendary Redhead Beach gig? Each venue on the tour is different, so Wendy and I will assess each space. Rob will inevitably tell us a ‘war story’ about the Oils and every town that the show will travel to, so we will try to include local references and stories.
In talking to host museums and galleries, I have encountered people who have their own Midnight Oil story to tell, as well. In the exhibition there is a facility to leave your Oils story on a fan wall.
What’s your favourite part of the exhibition after all this time?
That’s really hard to answer. The icons in the show include the Sorry Suits worn at the Sydney Olympics closing ceremony gig, and the giant Exxon Oil spill protest banner that the band played in front of, at their guerrilla protest gig in new York City. These are great things but I also love Ray Argall’s beautiful film piece which has wonderful concert and crowd footage from the mid 1980’s. The the ’10-1’ doco is brilliant. I love the band’s gear as well – Jim’s Gretsch, Martin’s Strat, Giffo’s Bass and Peter’s skyscaper one-piece mic stand. The gig posters are also great: they are a magnificent collection that tell us about a rich social history of accessible world class live music, lost venues, lost bands, and of course the amazing career of the Oils.
There are a couple of soundbites including an unreleased Midnight Oil track, and a recording of Jim, Rob and Bear as teenagers in their trio Schwampy Moose. Jim offered that piece saying that ‘people need to know what we sounded like when we were shit’. I’m proud of the text in the exhibition where I had the pleasure of collaborating with the band’s biographer Mark Dodshon. The hand-scrawled lyric sheets are revealing and compelling; a rare insight into the process of the band’s three main songwriters. The hitherto unseen footage of the band playing at Tanelorn in 1981 is awesome….I could go on!
What about the piece which Rob Hirst described as follows: “The piece de resistance is a replication in a box which has sticky carpet, three screens when you walk in and a curtain you pull behind you. It has footage of the band playing at the Tanelorn Festival in 1981 and there’s two sets of headphones you can choose from – one is loud, the other is really loud – and you can stick to the carpet. There’s elbows that come out from the side of the box so that you can be elbowed in the ribs. What I was trying to do was replicate what it was like coming to see Midnight Oil back then at the Mawson Hotel, the 16 Footers or the Ambassador or whatever.”
This was Rob’s pet project! He wanted a space in the exhibition where visitors could get the feel of an early Oils gig. He suggested a bizarre kind-of ‘bush shower’ to begin- steamy, smelly, loud…as if you were at the Royal Antler Hotel in 1978. I talked him out of that, and we compromised on a portaloo. That wasn’t going to work either. Wendy Osmond (3D designer) suggested we make a big roadcase that you can walk into. It was put together by some helpers including Grant Pudig (a former tour manager for the Oils). Rob had some old pub carpet, but it just wasn’t nasty enough, so we regularly spill a middy of Toohey’s Old and some cigarette butts into the floor to give that special Sydney pub smell.
It’s cramped and heated, and you’re surrounded by three screens featuring crowd scenes from the Hordern and the Oils at Tanelorn playing Cold Cold Change. Rob’s dogged persistence made this ‘Antler Room’ happen, but we have reserved the right to tease him about and it, so it is known as Rob’s Folly. I need to add that without Rob Hirst and his remarkable energy and penchant for collecting, MoMO would never have been born.
Other efforts toward making exhibitions about rock bands have not had the privileged position of having band members at hand, supportive and involved, and yet hands-off when it comes to telling the true stories and avoiding ‘vanity pieces’. Rob, Jim, Peter, Martin, Giffo, Bear and Bones have all been really helpful and generous along with the Oils’ management. The fact that they are as fearless in telling their story as they were as a musical force has given the exhibition project particular grunt.
I once would have thought of Midnight Oil as a very serious band, with their songs and stance on indigenous issues, homeless youth and the environment (many of us might have been introduced to some of these issues through their songs). These chaps turn out to be relaxed, funny, creative, witty, self-deprecating, super-literate (Rob corrected some of my text panel grammar and he’s meant to be a rock drummer!) and very easy to work with.
Given your hands-on experience with the Oils’ exhibition lately, your ideas about an Australian Music Museum – particularly the venue, format, funding, space and viability would be very interesting to a lot of people.
The interest has been enormous. It’s not just about the Oils, there is broader interest in some recent times when Australian music (rock in particular) was a massive part of our identity. The Midnight Oil story included the politics and issues that band traversed, which gave the show an added dimension. However, the great thing about exhibiting the stories of popular music is how that resonates within our memories, generates intergenerational conversations and cross-cultural conversations (and this is all beautifully documented in our visitors’ writings in MoMO).
I imagine an Australian Music museum having some of the authenticity of MoMO; a place that can feel like a pub in Adelaide, or the Sydney Stadium or Cloudlands or the Countdown set or The Palais at any given opportunity. To do this you need great designers like Wendy Osmond and Virginia Buckingham, the involvement of audience, and willing and brave contributors like Rob.
I’d like to see the music museum go beyond one space. Perhaps a ‘mothership venue’ with pop-ups around the country. There must be capacity for performance and recording in this space and it must be alive (therefore acoustics and accessibility are important). The key space needs much flexibility. It should be built by roadies as much as by museum makers. A smart government would take on the support of such a venue. We had some good corporate support from Sony Music, perhaps it’s time the music industry to get behind the physical museum project.The benefits are great.
Before Countdown in Australia, there was Go-Set magazine in the 1960s, where Australian music, fashion and media exploded and would later evolve into Countdown culture – and eventually The Voice. The Real Thing in various incarnations has survived from the 70s to today, throughout. Bill Armstrong was running his legendary Melbourne studios where Meldrum and Morris created their hippy anthem. This YouTube clip, below, tells Armstrong’s side of the story.
THE AUSTRALIAN HIPPY ANTHEM
The song be associated with Ian ‘Molly’ Meldrum who developed his taste in music during the hippy psychedelic era in Melbourne, while working at Go-Set. It was composed by Johnny Young, later known for hosting Young Talent Time.
RUSSELL MORRIS AND IAN MELDRUM
This is Ian (below) and the earliest video we have of him, talking about the Australian music industry at an airport – his virtual home, in the early 1970’s.
This clip from the ABC-TV series GTK reveals Ian discussing Daddy Cool and The Mixtures in 1971 – when he worked as a manager, record producer and a Go-Set columnist writing what the interviewer calls a ‘stirring’ column.
‘Even my best friends, including myself, are rubbished in that column,’ Ian says. In this clip he also talks about his work on the Australian hit, The Real Thing, by Russell Morris: ’When I got back from London in 1968 I was ready to tackle something like Russell Morris and the Real Thing. I don’t think Russell and I were a good artist-manager team. We argued a lot. But I think that we both benefitted from it.’
GTK – Molly Meldrum on the Australian pop scene (1971)
THE SONG THAT EMI HATED
Russell Morris, speaking to Carol Duncan in a fascinating interview at ABC Radio Newcastle, recalls:
“I remember when we first started in Melbourne, Ian Meldrum said to me, “We’ll go and see Stan Rofe at 3AW.” Stan Rofe was a big star to me, he was on air and I’d heard him on the radio station and I said, “Well how are we going to do that?” and he said, “We’ll just go up to the radio station!”
“So we went up to the radio station and walked in and Stan came down and had a cup of tea with us. Ian said, “We’ve got this, what do you think?” and Stan said, ‘Love it, I’ll play it.’ And that’s what it was like.”
“I tell you what is ironic, The Real Thing was turned down as well. EMI hated it, they thought it was the biggest load of rubbish they’d ever heard.”
And on Molly: “He’s still my best mate but we’d had a couple of professional disagreements. He saw me as Australia’s Davey Jones from The Monkees or some such thing and I wanted to go in a different direction completely as a singer/songwriter so we differed on the way we were going and the record company was pressuring for another single, but I really would have loved to be with a band like Chain.”
“But your fate is your fate. Whatever happens, those doors open and close for a reason and maybe if I’d started it earlier then it wouldn’t have worked.”
“I was happy doing The Real Thing, I quite liked psychedelia. I didn’t like pop a lot but I remember Ian (Molly Meldrum) had done a number of songs with me and we’d done ‘Only A Matter of Time‘ which I absolutely loathe, it was on the back of The Real Thing, and a couple of pop songs and I said to Ian, ‘This is rubbish, we’re not going in the direction I want to go,’
I said, ‘I’m not John Farnham, I’m not Ronnie Burns and I’m not Normie Rowe. I want to do something that they wouldn’t even contemplate thinking about doing. I want to go in that direction. Let’s go psychedelia, let’s go into something more band oriented than a pop single…Ian, to his credit, agreed and said, ‘You’re right, they’re not different enough.”
Read more here – Russell Morris – even better than the real thing
Later on, the arrival of colour television was Countdown’s ticket to huge ratings. Russell Morris had five Australian Top 10 singles during the late 1960s and early 1970s and is in the ARIA Hall of Fame.
See the YouTube footage – Russell Morris – The Real Thing – (includes a short interview from Hit Scene 1969).
Midnight Oil, Kylie Minogue and Third Eye have all covered the song.
The song satirises the 1967 Cola-Cola advertisement song claiming the drink is The Real Thing, as part of the ongoing corporate competition with Pepsi Cola.
As with The Beach Boys’ Pet Sounds and The Beatles’ Strawberry Fields Forever, the song is built from composite parts. The musicians involved came from The Groop and The Zoot.
Maureen Elkner provides the falsetto. She would later have a feminist hit with Rack Off Normie, written by Bob Hudson as an answering call to his own hit, The Newcastle Song.
The heavily processed vocals include what sounds like Ian Meldrum ‘delivering a buyer-beware message to potential trippers.’
The song’s climax contains a recording of the Hitler Youth choir singing their anthem, Horst Wessel Lied, before the sound of an atomic bomb blast.
It was recorded at Armstrong’s Studios in South Melbourne in 1968.
The sequel to The Real Thing is ‘Part Three: Into Paper Walls.
The song was originally earmarked for The Flies.
Johnny Young (real name John De Jong) wrote the song after sharing a flat in London with Barry Gibb from The Bee Gees. He went on to present and produce Young Talent Time which launched the career of Danni Minogue.
For more information, see Tomorrow Is Today: Australia in the Psychedelic Era, Edited by Iain McIntyre. Purchase at Amazon.
The original jingle The Real Thing was recorded for radio by The Fortunes in the USA in 1969.
MIDNIGHT OIL COVER THE REAL THING
Filmed by BSharpProductions and uploaded to YouTube. This gig took place on September 8th 2007 when Midnight Oil played at the Backroom in Byron Bay. Peter Garrett dedicates the song to “all the Australian musicians, writers and poets.”
The Real Thing – Midnight Oil live at the Backroom Byron Bay
Buy The Real Thing by Midnight Oil at their website.
THE REAL THING IN JULY 2014
This is the most powerful modern incarnation of the song yet (at least since Kylie’s own version) from the Voice YouTube channel in July 2014. Here Kylie, the judges and the top sixteen contestants take Johnny Young’s composition and give it electrifying ensemble cast treatment. Will the song be back in a new incarnation beyond 2020? The Real Thing is one of the few Australian songs which has been revived from the Seventies through to the 21st century. Watch this space.
Watching The Go-Betweens on Rage has been a rite of passage for Australians for years, no matter if it’s a vintage clip for Spring Rain or Streets of Your Town. There are two clips for the latter; one directed by Kriv Stenders capturing the places The Go-Betweens lived in, and played in.
“Whenever I hear Streets of Your Town, it’s the images from this video that play in my head – slabs of bright blue sky behind terrace houses, telephone lines, clock towers, apartment blocks and train stations. There are glimpses of the Sydney harbour bridge, overhead tram lines in Melbourne and buildings in central Brisbane. And lots of sun glittering on water.”
Streets of Your Town
The song was included on an iPod given to Barack Obama by former PM Julia Gillard. Taken from 16 Lovers Lane, it appeared in U2’s set list at the Brisbane concert during their Vertigo World Tour in dedication to Grant McLennan.
The 16mm Steenbeck Clip
Kriv Stenders has a YouTube channel showing this and other work, including the film Red Dog. His work for The Go-Betweens on Rage sits alongside a second clip, commissioned by the record company.
“This was one my first ever music videos. I made it with Antony Clare, a friend from Brisbane and the idea was based on the photographic style of one his short films from art college. We shot this in my last year at film school and I remember we travelled by car from Brisbane, to Sydney and then Melbourne filming various members of the band in their favourite parts of each city. We were completely exhausted at the end of it all. It was shot on old 16mm reversal film and edited by hand on a Steenbeck by Annette Davey who is now an established feature film editor in New York…”
Rage has a tradition of asking musicians to guest-program the show, and on Saturday 8th May 1999, Robert Forster and Grant McLennan sat in a hotel room and did just that.
Thanks to Golden Daze at YouTube for uploading clips from the program including the introduction by Robert and Grant, here. The Go-Betweens would program Rage again, with Amanda Brown and Lindy Morrison, almost two decades later.
Chase the Dragon – Beasts of Bourbon
Robert programs The Beasts of Bourbon’s Chase the Dragon much to Grant’s amusement. You can see the song here.
The Go-Betweens on Rage – programming the Beasts of Bourbon.
Sexy Boy by Air
Raining Pleasure by The Triffids
Grant McLennan introduces one of his favourite tracks here, commenting: “One of the most beautiful songs about desire and longing that I’ve ever heard. And I’m going to miss – like we all should – David McComb.”
The Forster/McLennan Playlist
You can download the whole Go-Betweens Rage program, above, on the ABC-TV website. This is the playlist from Saturday 8th May, 1999 (below).
Sexy Boy – Air Virgin Hand In Your Head – Money Mark Polydor Music Sounds Better With You – Stardust Virgin
Be My Baby – Ronettes, The EMI In The Flesh – Blondie EMI Only Love Can Break Your Heart – St. Etienne Warner Chase The Dragon – Beasts Of Bourbon Polydor Jimmy Rogers – Fur Shock White Rabbit – Jefferson Airplane Universal (MCA) Long May You Run – Neil Young Warner
Some Kinda Angel – Mojave 3 Shock Bathtime – Tindersticks Mercury In The Neighbourhood – Tom Waits Mercury The More You Ignore Me – Morrissey EMI Sorrow – David Bowie EMI So Young – Suede Sony What Presence – Orange Juice Independent Raining Pleasure – Triffids, The Festival Las Vegas – Underground Lovers Polydor
Rachael’s Coming Home – Russell Morris Festival Remedy – Black Crowes, The Sony Summer Here Kids – Grandaddy V2 Goddess On A Hiway – Mercury Rev V2 Bobby Peru – Luna Shock Not Dark Yet – Bob Dylan Sony
The Model – Kraftwerk Independent Running Up That Hill – Kate Bush EMI Slave To The Rhythm – Grace Jones EMI Ray Of Light – Madonna Warner I Love The Nightlife – Alicia Bridges Polydor Trash – Suede Sony
I Love Women – Lou Reed BMG Baby Stones – Robert Forster Universal (MCA) Someone, Somewhere – Wannadies, The BMG There She Goes – La’s, The Polydor Friday I’m In Love – Cure, The Warner Public Image – P.I.L. Virgin The Lights Are Changing – Mary Lou Lord Sony Calling Occupants Of Interplanetary Craft – Carpenters, The Polydor
Cloudbusting – Kate Bush EMI Soon – My Bloody Valentine Shock Ohio River Boat Song – Palace Brothers Shock Cattle And Cane – Go-Betweens, The Universal (MCA) Bachelor Kisses – Go-Betweens, The Warner Spring Rain – Go-Betweens, The Polydor Head Full Of Steam – Go-Betweens, The Universal (MCA)
Right Here – Go-Betweens, The BMG Bye Bye Pride – Go-Betweens, The Polydor Streets Of Your Town – Go-Betweens, The Universal (MCA) Was There Anything I Could Do – Go-Betweens, The Universal (MCA) Cryin’ Love – Robert Forster Shock Surround Me – G.W. McLennan BMG Simone & Perry – Grant McLennan Shock Don’t Blame The Beam – F.O.C. Polydor
If You Want Release – F.O.C. Universal (MCA) Already Gone – Powderfinger Polydor Don’t Wanna Be Left Out – Powderfinger Polydor Good Day Ray – Powderfinger Polydor The Day You Come – Powderfinger – Live On Recovery Polydor JC – Powderfinger – Live on Recovery Polydor D.A.F. – Powderfinger Polydor Pick You – Powderfinger Polydor
50. Westside – TQ Sony
49. Millennium – Robbie Williams EMI
48. How Do I Deal With Love – Jennifer Love Hewitt Warner
47. Say It Once – Ultra Warner
46. Every You, Every Me – Placebo Virgin
45. Zorba’s Dance – LCD Virgin
43. Stay The Same – Joey McIntyre Sony
42. Doo Wop (That Thing) – Lauryn Hill Sony
41. It’s Our Time – Ilanda Shock
40. Praise You – Fatboy Slim Sony
39. All Torn Down – Living End, The EMI
38. 9pm (‘Til I Come) – ATB MDS
37. Right Here, Right Now – Fatboy Slim Sony
36. Last To Know – Human Nature Sony
35. End Of The Line – Honeyz Mercury
34. Put Your Hands Up – Black && White Brothers Central Station
33. Girlfriend/Boyfriend – Blackstreet featuring Janet Jackson Universal (MCA)
32. Enjoy Yourself – A+ Universal (MCA)
31. Smile & Shine – Pandora Universal (MCA)
30. Lullaby – Shawn Mullins Sony
29. Stand By Me – 4 The Cause BMG
28. Save Tonight – Eagle-Eye Cherry Polydor
25. Livin’ La Vida Loca – Ricky Martin Sony
24. You Don’t Know Me – Armand Van Helden Polydor
23. Tearin’ Up My Heart – N’Sync BMG
22. Have You Ever? – Brandy Warner
21. Angel Of Mine – Monica BMG
20. How Deep Is Your Love – Dru Hill Mercury
19. This Kiss – Faith Hill Warner
18. Protect Your Mind – DJ Sakin && Friends Central Station
17. Every Morning – Sugar Ray Warner
16. Thank Abba For The Music – Steps, Tina Cousins, Cleopatra, B*Witched & Billie Sony
15. Anthem For The Year 2000 – silverchair Murmur
13. You Get What You Give – New Radicals Universal (MCA)
12. No Matter What – Boyzone Polydor
11. Strong Enough – Cher Warner
10. Honey To The Bee – Billie Virgin
9. Fly Away – Lenny Kravitz Virgin
8. Until The Time Is Through – Five BMG
7. Touch It – Monifah Universal (MCA)
6. That Don’t Impress Me Much – Shania Twain Mercury
5. The Animal Song – Savage Garden Roadshow
4. Baby One More Time – Britney Spears Mushroom
3. Why Don’t You Get A Job? – The Offspring Sony
2. We Like To Party – Vengaboys Central Station
1. No Scrubs – TLC BMG
Amanda Brown and Lindy Morrison
Amanda Brown and Lindy Morrison programmed Rage 18 years later, as The Go-Betweens Right Here documentary launched in Sydney, in the wake of Robert Forster’s autobiography, Grant and I (Penguin).
The internet and media portrait of Michael Hutchence is as contradictory as the iconic Max Q face (below). Max Q was a collaboration with Ollie Olsen, whom Michael had met while filming Dogs In Space. There are many portraits of Michael Hutchence.
Talking to the late Vince Lovegrove in his biography of Michael Hutchence (Allen & Unwin 1999) Olsen said, “I think he was a person who was kind of caught up on this rollercoaster of fame and there was a part of him that perhaps was on a more spiritual level.”
Max Q was then born in Los Angeles and according to Michael’s brother Rhett Hutchence, the latter mortgaged his Paddington house to pay for the recording.
Greg Perano, an old friend of Michael’s, believed that if the Max Q project was too successful, INXS management was concerned it would take Michael away from the band. Speaking to Lovegrove, he commented ‘They wanted it to be a faceless record.’ Thus, the first portrait we have of Michael Hutchence, below. Here, he is just one of the many faces of Max Q.
“Max Q is a title that Ollie was just bandying about. “I want to do a Max Q thing.” It was a month later that I found out it was the name of his dog – which I shouldn’t have mentioned – his deaf dog. A mad, fucking, frothing-at-the-mouth, barking, biting, table-chewing dog. That’s the beginning of it. What it turned into was this guy we could create. This idea of taking pieces of everybody and creating this persona: Max. So it’s not a solo album for me – which it isn’t technically – and it’s not just this band. It’s this alter ego we’ve created out of everyone. The weird thing is we wanted to make the logo really ugly, with this police identikit sort of thing, and it turned out to be this guy, this person. We were quite happy with it and kept it. That’s Max.”
THE TONY MOTT PORTRAITS
Tony Mott’s recent Sydney photographic exhibition What a Life also drew thousands of fans, at the State Library of NSW. Veteran Australian media photographer Tony Mott (below) captured Michael in a classic portrait, blown up to larger-than-life size. One shot from the session appeared, literally, on ‘the cover of Rolling Stone’ in Australia. Michael’s smile still attracts female fans (below). The photograph also appears on the biography by Vince Lovegrove (Allen & Unwin).
DISCOVERING THE HARRY BORDEN PORTRAIT
Interview with Harry Borden
In this interview clip, below, Harry Borden describes the experience of photographing Michael Hutchence on location in Paris. All the images in this interview are copyright Harry Borden.
Further information about the Michael Hutchence portrait by Harry Borden can be found on the Gallery’s website http://www.portrait.gov.au
THE POLLY BORLAND PORTRAIT OF MICHAEL HUTCHENCE Visit The National Portrait Gallery online to see an alternative portrait of Michael Hutchence captured by Polly Borland. This Rolling Stone cover shows yet another face of the singer.
RICHARD LOWENSTEIN’S PORTRAITS The Ghost Pictures channel on YouTube showcases some of the amazing work created by Richard Lowenstein over the years, including this lesser-known INXS clip (Property Ghost Pictures).
THE NATIONAL PORTRAIT GALLERY ON YOUTUBE Subscribe to the National Portrait Gallery’s YouTube channel at: http://goo.gl/GYIgsq for more rock’n’roll art works and insights.