It’s hard to overemphasize just how big The Seekers were, how they eclipsed by some distance the achievements of any other Australian band in Australia and the UK with the exception of INXS. Eight top ten singles in Australia, Seven in the UK including two number ones, this at a time when pop was at its most fertile and competitive. The band were an enigma for their time. A folk band veering towards pop with no electric guitars but with a double bass, about as fashionable as a bonnet in Swinging London. With no concessions to the Beatles or Stones or the plethora of nascent rockers emerging in their wake, The Seekers stuck to their guns and won over the world with a combination of indelible melodies magnified by the angelic vocals of Judith Durham.
Their first single ‘I’ll Never Find Another You’ topped the charts in Australia and the UK and rose to number 2 in America, instantly spotlighting the band as a charming and unique anomaly in the pop scene. A World Of Our Own was another monster hit in all three charts.
Tom Springfield (brother of Dusty) was the song-writing Svengali for The Seekers. When he adapted an old Russian folk song, ‘Stenka Rasin’ (who would you pay copyright to? The Kremlin?) into ‘The Carnival Is Over’, The Seekers hit a sweet and deeply melancholy spot which made for their most exquisite track.
Covered by Nick Cave who might have preferred the Russian version since it concerns a young girl being sacrificed, tossed overboard from a boat, for the glory of the nation, The Seekers sang instead of the desperate last hours of a romance which will end when our hero, a carny forever, shifts base, and heads off to the next town. The briefest of loves, compressed into days that will live on forever, “until I die”.
The song moves at a funereal pace but this is not something you notice as Durham stretches each perfect note and a percussive shuffle lifts the tempo. The song shot to the top of the UK and Australian Charts. The band won Best New Act at the NME awards defeating nominees who would themselves become household names.
When they returned to Australia 200 000 people attempted to squeeze into The Myer Music Bowl to see the group perform a brief set (they were completely unprepared for the leviathan nature of the crowd). In the mid ‘60s The Seekers with their unfussy captivating music were, against all odds one of the biggest bands in the world.
Michael Witheford is a freelance writer and author. He has been published by RAM, Juke Magazine, On The Street, Beat, The Age, The Sydney Morning Herald, the Launceston Examiner, The Melbourne Sunday Sun, Melbourne Times and various periodicals. His novel Buzzed was published by Penguin in 2002.
He wrote songs, played bass guitar and sang in the Fish John West Reject and ARIA nominated Lust In Space, among many bands.
He now lives in Tasmania and is working on a memoir and personal account of the Tasmanian and Melbourne Music scene in the ‘80s and ‘90s.
Australian music and politics have been intertwined since Vietnam and its aftermath. Khe Sanh is sometimes called the alternative Australian national anthem. Only Nineteen, by Redgum, continued the tradition set by Don Walker and Cold Chisel, in the Eighties.
THE OILS IN THE EIGHTIES
The early-mid 1980s saw the rise of People for Nuclear Disarmament in Australia. Midnight Oil played strong songs that sold the anti-nuclear message and toured the country widely, educating a generation about nukes. This laminate, from the collection of Marshall Cullen, dates from that time. Hobart was a focus for the anti-nuke protests of the mid 1980’s after the controversial visit of the U.S.S. Enterprise – Peter Garrett was there.
STOP THE DROP, 1983
U.S. FORCES GIVE THE NOD
U.S. Forces lyrics which the crowd sing word-for-word in the Stop The Drop clip can be found at Midnight Oil’s official website . The song was written by Jim Moginie and Peter Garrett.
The anthem U.S. Forces name checks Shakespeare (‘dogs of war ‘) as well as the Wall Street TV-speak of the early Eighties (‘market movements call the shots.’) You can see the crowd mouthing the lines “People too scared to go to prison” at Stop The Drop which was also a reflection of the times. This T-Shirt, below, is in The Powerhouse Museum collection in Sydney.
The Stop the Drop concert held at Melbourne’s Myer Music Bowl on Sunday 13 February 1983 was attended by the T-shirt donor you see responsible for the Powerhouse Museum archive donation on this page – Kevin Fewster – who also happened to be one of the organisers.
The 1983 concert was attended by 8000 people. In 1984 Peter Garrett was to run for the Australian Senate in NSW for the Nuclear Disarmament Party but was not elected.
Also at this concert, members of Goanna, Midnight Oil and Redgum recorded an impromptu song to protest the proposed damming of Tasmania’s Franklin River. Released as ‘Let The Franklin Flow’ by Gordon Franklin and the Wilderness Ensemble, it reached number 15 on the charts in May that year.
The line “Superboy takes a plutonium wife” might just be one of the most mis-heard in Australian music, but ‘sing me songs of no denying’ is something most Australian music fans would automatically attribute to the band. The album was huge in the early 1980’s and together with Red Sails In The Sunset (which shows Sydney after the bomb) politicised part of a generation.
THE RANGER URANIUM MINE
Between 1979 and 1984, the majority of what is now Kakadu National Park was created, surrounding but not including the Ranger uranium mine. The two themes for the 1980 Hiroshima Day march and rally in Sydney, sponsored by the Movement Against Uranium Mining (MAUM), were: “Keep uranium in the ground” and “No to nuclear war.” Later that year, the Sydney city council officially proclaimed Sydney nuclear-free.
The Nobel-prize winning Australian novelist Patrick White led one such march, and was photographed with Tom Uren, pictured with dark glasses, bag and stick. This is his novel The Eye of the Storm.
RUBBERY FIGURES, RONALD REAGAN AND MIDNIGHT OIL
By 1982, there were 350,000 Australians at anti-nuclear rallies, focussed on halting Australia’s uranium exports, removing foreign bases from Australian land and creating a nuclear-free Pacific. The visits of U.S. nuclear warships – as far as Hobart – was also a major early Eighties issue and Midnight Oil sang the soundtrack.
The comedy puppet series Rubbery Figures (ABC-TV 1984-1990) satirised U.S. President Ronald Reagan in the same period. To put Midnight Oil’s anti-nuclear albums 10, 9, 8 and Red Sails in context, it’s also important to remember that in 1984, shortly after both records (still vinyl) were released, President Reagan joked in a soundcheck on National Public Radio, ‘My fellow Americans, I’m pleased to tell you today that I’ve signed legislation that will outlaw Russia forever. We begin bombing in five minutes.’
Rubbery Figures – Ronald Regan re Anzac Day
THE BOMB AND THE EIGHTIES
Writing in Meanjin, Simon Castles remembers, ‘In 1984 the Doomsday Clock kept by the Bulletin of the Atomic Scientists was moved to three minutes to midnight, its most dire position since the invention of the hydrogen bomb. Midnight Oil released Red Sails in the Sunset the same year, an album whose cover shows Sydney after a nuclear strike.’
‘In the eighties there was a stack of pop songs about the bomb. To name just a handful of tracks on a list that ran long, as if to a mushroom cloud on the horizon: ‘Breathing’ by Kate Bush (1980), ‘1999’ by Prince (1982), ‘Seconds’ by U2 (1983), ‘99 Luftballons’ by Nena (1983), ‘Walking in Your Footsteps’ by The Police (1983), ‘Two Minute Warning’ by Depeche Mode (1983), ‘Forever Young’ by Alphaville and then Laura Branigan (1984–85), ‘Two Tribes’ by Frankie Goes to Hollywood (1984), ‘Russians’ by Sting (1985), ‘Guns in the Sky’ by INXS (1987) and ‘Everyday is like Sunday’ by Morrissey (1988).’
Red Sails in the Sunset was a title more associated with Bing Crosby and Fats Domino in the Eighties – until Midnight Oil took it over with the help of a Japanese artist who was years ahead of his time. American blogger Sam Wade, writes at The Vinyl Odyssey:
“Japanese artist, Tsunehisa Kimura, created the post-apocalyptic vision of Sydney Harbor – no water only craters from nuclear bombs and a giant fireball near the bridge. It’s one of the coolest photomontages I’ve seen and it stuck with me even more because I have family in Australia. But remember, this record came out in 1984, six years before Photoshop 1.0 would ever hit the streets. In this digital age, it’s easy to forget that this type of art was much more painstaking and analog to create.”
Dr Sarah Engledow, Historian and Curator at the National Portrait Gallery of Australia, wrote in Portrait magazine.
“In 1983, in an international climate of increased public involvement in protest, the Australian local news was dominated by environmental demonstrations on two fronts. The first was the Tasmanian NO DAMS campaign, making highly professional and effective use of photographs by Peter Dombrovskis,a wilderness photographer mentored by Olegas Truchanas. The second was the anti-nuclear movement. In February 1983 Midnight Oil helped organise the Stop the Drop concert in Melbourne, and headlined the event. That year, Tom Uren and Peter Garrett marched together at the head of an anti-nuclear protest. In 1984, when Tom Uren and Patrick White walked side by side at the front of an Australians for Nuclear Disarmament march and Peter Garrett stood unsuccessfully for the Senate on behalf of the Nuclear Disarmament Party, Midnight Oil released the album Red Sails in the Sunset, featuring sinisterly surreal cover artwork by Tsunehisa Kimura of the Sydney Harbour Bridge spanning an expanse of cratered red dirt, a bomb-like ball glowing lava-hot beside the Opera House. The following year, the Oils’ EP Species Deceases came with album notes on the theme of Hiroshima forty years on. Including the great track ‘Hercules’, Species Deceases was an exasperated exhortation to action: ‘Come to your senses and care/16 million I can’t hear you at all’, Garrett cried.”
Rowland S. Howard Lane is now on the map in St. Kilda, Melbourne thanks to a campaign by Nick Haines and Rowland’s friends, family and fans.
Rowland’s blood-stained guitar is in the archives at The Australian Music Vault. The rest can be found around the city of Melbourne and as far away as Ballarat.
A number of photographers and painters have captured Rowland S. Howard over the years.
Top: Rowland S. Howard with The Birthday Party, photographed for the NME in 1981.
Artist Casey Tosh created another lane for Rowland in Ballarat, home town of Warren Ellis.
A Day in the Life of Rowland S. Howard appeared in photographer Peter Milne’s exhibition, Juvenilia, at Strange Neighbour in Fitzroy, Melbourne.
The laneway sign is the only typographical tribute to Melbourne’s most famous guitarist. Seen here being carried across St. Kilda with Nick Haines and friends, ahead of the official opening by Minister Martin Foley.
The February 27th-March 28th 2015 Juvenilia exhibition by Peter Milne at Strange Neighbour in Fitzroy highlighted the life and work of Rowland S. Howard, Nick Cave, Tracey Pew and other members of The Birthday Party’s inner circle, at the start of their career.
Rowland S. Howard Lane – one of many ways Australia remembers him.
Rowland S. Howard on Studio 22
This clip shows Rowland introduced by Australian music journalist and author Clinton Walker on the ABC-TV program Studio 22.
An Interview with Nick Haines
How does Rowland fit into the Melbourne and particularly St. Kilda music scene?
Nick Haines: In the late 70’s when the “new music” was sweeping the world St Kilda became something of a hub for this new sound. So much so that it earned the nickname Berlin by the sea. Rowland’s contribution to the originality of the Melbourne scene at this time is a matter of record.
A fan who signed the petition lobbying for a laneway in his name, said Rowland was ‘One of the greatest guitarists in rock ‘n’ roll, anywhere in the world.’ Why do you think his guitar work mattered so much to music and musicians?
I’m not a guitarist so it’s hard for me to answer from a musician’s point of view on why his work mattered, but in my opinion Rowland showed other guitarists that you create your own sound and stick with it. But like I said, it’s hard for me to answer from a musician’s point of view.
What have been the highs and lows involved in the process of getting the lane way up? Where do things stand right now?
It’s been a long battle but I can finally see light at the end of the tunnel. The low is, I never imagined that an unnamed laneway with no street address on it couldn’t be named with two names as it was too difficult for emergency services. To me it just seemed like bureaucracy gone mad. Almost like something out of an episode of Yes Minister. I mean seriously…. “Rowland S. Howard Lane” as opposed to the “unnamed laneway between Jackson Street and Eildon Road opposite the Jackson Street carpark!?” Which is more difficult?
The high, without a doubt, has been the hugely moving global support for a tribute laneway for Rowland, from noteworthy musicians through to fans in Asia, Europe, UK, USA and Australia. Their words and measure of love for him and his work motivated me to persist through the red tape and to keep going.
Here is another petition comment from a fan of Rowland’s – ‘Even though the St Kilda that Rowland impacted is mostly painted over by jeans shops and fancy restaurants, his influence is still strong between the cracks and in the shadows and makes perfect sense to name the street after him.’ And Shannon Rowe wrote, ‘Roland was a regular customer at our cafe, Miss Jackson in Jackson Street. Who was the Rowland S. Howard you remember and what was he really like? How did you get to know him and how did the friendship continue through his illness? And for fans visiting St. Kilda, are there are any other cafes he frequented?
Rowland was a regular fixture with his daily strolls down Fitzroy Street. Many locals knew him well by these without knowing of his background in music. I know Rowland frequented Miss Jackson a lot also he and I spent more hours together talking and drinking coffee than I care to admit at the Pelican.
Did you ever discuss a laneway memorial with Rowland?
I never discussed death or dying with Rowland, because he wanted to live and work and play forever. The idea of a tribute laneway occurred to me on my way to his funeral, not before he died. I wanted him to live and play forever too.
Your thoughts about Autoluminescent, the documentary about Rowland made by Richard Lowenstein? Is that the Rowland you knew?
Very much. The later one-on-one camera interviews with him I found very hard to watch as that was the Rowland I knew best. My wife and I got very teary during those shots.
Watch the Autoluminescent trailer again from Ghost Pictures, here, posted at YouTube.
What is your favourite Rowland S. Howard music?
My top three would be Exit Everything (off Teenage Snuff Film), Hyperspace (off the These Immortal Souls album – Never Gonna Die Again and Golden Age of Bloodshed (Off Pop Crimes)
Anything else you’d like to say here? Thank you Nick.
Considering the rich musical and arts heritage that Melbourne has I hope this sets a precedent for other musicians and artists who have made a significant contribution to be honoured similarly.
Rowland S. Howard Lane, Ballarat created by Casey Tosh.
Australian music maps, apps, podcasts and guided walks for fans of everyone from The Birthday Party to Archie Roach are in hefty supply these days. Australian music walking tours offer you Bon Scott or Nick Cave – take your pick.
Brisbane has her Walk of Fame and Go-Between Bridge – and Ed Kuepper will soon have a park, alongside The Saints’ forthcoming mural near their old Club 76 house/rehearsal space.
Melbourne, the Australian music capital, offers video, audio and printable guides to landmarks like AC/DC Lane and Rowland S. Howard Lane in St. Kilda.
SYDNEY – FROM COLD CHISEL TO BOWIE
Sydney has hosted Bowie and started Chisel on their way. The city is also on a global rock’n’roll map of early punk, thanks to The Oxford Bar, formerly The Oxford Hotel or Oxford Tavern at 134 Oxford Street, Darlinghurst.
This is where Radio Birdman turned an historic pub into the Oxford Funhouse. Bernard Zuel from The Sydney Morning Herald co-created this minimalist map of the city’s key landmarks. That’s Chris Bailey from The Saints standing over Paddington.
SYDNEY – DOWNLOAD FREE ROCK’N’ROLL AUDIO TOURS
Sydney offers wonderful audio guides from members of Mental As Anything, Radio Birdman and The Hoodoo Gurus – around Newtown and other historic music hubs. This is a free download for visitors to Sydney and locals, too. Tour Festival Records. Meet John Kennedy (the king of King Street). See what Oxford Street was like when rock’n’roll ruled. Go from Surry Hills to Kings Cross, where Don Walker wrote Cold Chisel classics. From Waterfront Records to Phantom to Red Eye, Sydney was once a huge hub for Australian indie bands. Download and start walking to see why. Collector Vanessa Berry even has the old Waterfront bag on her blog.
MELBOURNE MUSIC WALKS AND MAPS
St. Kilda also offers visitors and fans of Australian music a curated, guided tour – with rave reviews. You will need to book well ahead to secure a place, visiting landmarks like Rowland S. Howard Lane (below). Explore local Sixties garage bands too. This is a five-star rated walk on Trip Advisor. Find out more here. From the young Nick Cave (pictured, photographer unknown, from the website) to the still-young, Espy, this is a solid local walking tour.
This amazing free music walk is presented by the City of Melbourne and you can download a free PDF map (click on the heading link) and take it with you. The walk takes in AC/DC Lane and the pub and music venue Cherry Bar, halfway down the lane itself – along with thoroughly researched landmarks, past and present. AC/DC Lane graffiti is ever-changing. Like this (below). Cherry Bar is the watering hole for big-name musicians on tour in Melbourne. You never know who you’ll bump into at the bar.
FROM AC/DC TO SKYHOOKS AND ELVIS COSTELLO
The Melbourne Music Walk offers historical venues, rock routes, sticky carpets and music laneways. The walking time is 1.5 hours and covers a distance of 3.5 kilometres.
Melbourne has featured in many music clips over the years including: AC/DC It’s A Long Way To The Top (1975) Skyhooks This Is My City (1976) John Paul Young Yesterday’s Hero (1975) The Mixtures The Pushbike Song (1970) Elvis Costello I Wanna Be Loved (1984) The Meanies It’s A Long Way To The Top (1995) The Cat Empire Steal The Light (2013) Courtney Barnett Elevator Operator (2016). See the website for the map and the scoop on the city.
THE CHRISSY AMPHLETT WALK 2018
Pictured here are Paul Kelly and Charlie Owen at Amphlett Lane, the laneway off Little Bourke Street named in honour of the late, great, Chrissy Amphlett. The podcast, map and walking tour celebrating key places in her life in Melbourne will be available in 2018. (Instagram). Bookmark this website to stay updated.
TRIPLE J MELBOURNE WALKING TOUR PODCAST
This podcast starts at The Espy in St. Kilda as host Dom Alessio takes you on a music walking tour of Melbourne, meeting with locals Big Scary, The Smith Street Band, Saskwatch and more at key locations around the city. Another good free audio guide to Australian music.
MELBOURNE MUSIC CITY – VIDEO GUIDES
Bruce Milne is the best-known music historian in Melbourne and these free video guides take in some of the city’s most iconic locations, beginning with Archie Roach (below) and Gertrude Street. Don’t miss Bruce’s knowledgeable on-camera tours. All free.
The Models, Split Enz, Paul Kelly, Painters and Dockers, Lobby Lloyd and more are all part of Bruce’s unique, filmed snapshots.
GERTRUDE STREET, MELBOURNE AND INDIGENOUS MUSIC
Gertrude Street, Fitzroy was an important hub for Indigenous musicians like Ruby Hunter and Archie Roach and The Workers’ Club, formerly the Rob Roy, still has bands today.
THE AC/DC HOUSE AT 6 LANSDOWNE ROAD, EAST ST KILDA
Bruce Milne continues this series of short YouTube clips with the 24-hour party house where half the bands in Melbourne would end up late at night. Was Whole Lotta Rosie also written here?
BRISBANE AND THE SAINTS – WALK THIS WAY
While Melbourne and Sydney are literally streets ahead with various music walk options – Brisbane is not far behind. Ed Kuepper Park will link Oxley Road and Lawson Street, thanks to a petition campaign begun by Maurice Murphy.
The Go-Betweens’ John Willsteed successfully campaigned for The Saints’ rehearsal space/ house on the corner of Petrie Terrace and Milton Road to be honoured with a mural. This was also the home of Chris Bailey, Ivor Hay and Jeffrey Wegener who went on to drum for Laughing Clowns. The wall was daubed with the legend ‘Club 76’ by Kuepper.
Everyone knows about The Brisbane Sound. Let us know if you hear about a Brisbane Walk at @ammptv on Twitter.
PERTH – AC/DC AND BON SCOTT TOURS
Download guides to Perth and Fremantle, stamping ground of Bon Scott, free at this website. The Highway to Hell guide reveals where it all started. Don’t miss it. And – if you’re creating a new music walk of know of one we’ve missed, please let us know in Comments.
Thanks to AC/DC but also obscure Australian artists like Leong Lau (his 1977 album is currently selling for $1574) the backstage passes, tickets, vinyl and other collectables from Down Under are now seen as a good investment.
Naomi Dinnen, part of whose personal collection was kindly photographed by her for AMMP, had more than a decade in the music industry, successfully publishing an independent music magazine. She was a columnist for Rolling Stone, Drum Media, 3D World and Juice Magazines, worked for EMI Music and PolyGram Records. Not everyone has a collection of laminates but they can and do turn up at street markets and garage sales – and on eBay.
Collecting Go-Set Magazines
Go-Set magazines retail for around AUD$50 online. They are already preserved at The State Library of Victoria on film archives and at the National Film and Sound Archive. A copy of Go-Set bought in 1973 for 25 cents has increased in value 200 fold.
Collecting Nick Cave
Nick Cave is one of the few Australian musicians to have crossed the threshold from ‘muso’ to sought-after museum, art gallery and library name. This famous photograph by Bleddyn Butcher (below) appeared in an exhibition on Australian Bohemia, presented at The State Library of Victoria.
Euchrid’s Crib, a gelatin silver photograph, taken in West Berlin on 3rd August 1985 captured Nick Cave when he was writing his novel And the Ass Saw the Angel and Butcher’s title identifies the character from Cave’s book. This was both Cave’s bedroom and study, complete with human hair.
When Australian musicians cross the line from gigs to galleries, libraries and museums, prices tend to rise accordingly.
This photograph of Nick Cave with Rowland S. Howard (and unfortunate cat) taken by Peter Milne was part of his superb Juvenilia exhibition at the Strange Neighbour gallery in Fitzroy, Melbourne.
Ballarat painter Casey Tosh captured Nick Cave in a portrait which has also found its way onto T-Shirts. He has also drawn Warren Ellis, a former Ballarat resident. The fact that Tosh has also created a whole laneway of street art dedicated to Rowland S. Howard in Ballarat may one day make his paintings and T-shirts collectable.
What to watch for – Australian magazines and street press that has a) vanished and b) escaped household recycling bins could be tomorrow’s Go-Set.
Bon Scott (seen here pointing to Juke magazine) has left a paper trail which is worth collecting. On the Street, Drum Media and Ram are also worth watching out for. Tony Mott, the Australian photographer who has exhibited widely and also produced a number of books, has helped to make what used to be free street press, collectable (below).
Australian music posters are best represented in Plastered by Murray Walding with Nick Vukovic (The Miegunyah Press, 2005) which is now, by itself, a collectable book. The Hair and Masters Apprentices posters, here, are from Plastered.
A copy of the Masters Apprentices 1979 album Now That It’s Over signed by the late Jim Keays sells for $80 online. Meanwhile, the Taman ShudEvolution LP is valued at $150
Australian pressings of British punk singles and albums are worth watching. The Clash put out London Calling in a Down Under version in 1979 which is now worth $100. Looking for an eclectic selection? Try Vicious Sloth. This online store is a good source.
From Radio Birdman/Iggy Pop cancelled tour posters to mint-condition box-sets you may find that your Australiana ends up becoming far more valuable than stamps or coins to collectors.
Most people know that The Beatles Yesterday and Today is worth a lot of money (about $995 as we head towards 2020).
Who knew that a Tasmanian Christian folk group called The Ascension Four would put out an album worth $65 today, though?
Age and obscurity are not always the keys to a good investment, though. Famous, recent names like Magic Dirt are worth watching. You can buy a poster advertising a gig with Magic Dirt and Rowland S. Howard at The Corner Hotel on 29th October 2008 for $124.99
The poster was free at the time. So was the poster advertising a Nick Cave story in The Monthly magazine – now worth $84.99.
Start Small or Start Big?
Start small or start big? You don’t have to have a huge outlay to start collecting and vinyl is easily stored and portable.
Artists within bands – who contributed to memorable sleeve art – include Mental As Anything. Vinyl singles with iconic Australiana may help you to up your investment one day. Try the Mental as Anything ‘Creatures of Leisure’ single for $20.
There are two redesigned Antipodean Beatles covers – Beatles for Sale (tour photographs) and With the Beatles.
An Australian promotional copy of The White Album on eBay is $6000. One of the reasons for this is the censored photograph of a naked John Lennon on the poster which came with the album.
What to Watch
Bands like The Sunnyboys who found their career revived with a television documentary are now seen as an investment. Their self-titled, limited-edition, yellow vinyl album is now $325.
Midnight Oil posters are worth a long look as the band’s touring exhibition and its important place in Australian political history is bound to make them desirable to the investors of the future. Blank Canvas Australia sell this poster (from Noosa, below) for almost $250. It’s also strange but true that a mere flier, from a band like INXS, is now worth $49.99 online.
It is worth trawling eBay, record collectors’ fairs, secondhand shops and open-air markets to see what you can find.
Should this single (below) turn up in a car-boot sale, though, you’d better snap it up. This is God Save the Queen by The Sex Pistols on A&M Records and it’s currently worth $24,411.
Do you have a photograph of your Australian music memorabilia you’d like to share with AMMP? Please let us know. Thank you.
Collecting Australian music – this INXS flier measures up.