Skyhooks were the first beneficiaries of the advent of colour TV (and Countdown specifically). Gone in a flash was the double denim greasy hair of the Sunbury blue-rock years. In came pancake make-up, feather boas, and the sheen of satin flares and white suits. Booed (and bottled) off at Sunbury in 1974 for their glam rock affectations Skyhooks had the last laugh when their debut LP Livin In The 70’s (sic) sat atop the charts for a staggering 17 weeks.
Greg Macainsh was the sharpest lyricist of his generation, his acidic take on local scenes and suburban locations something previously unheard of. Half the record was banned by radio for its salacious subject matter, which served only to power up the controversy and sell more discs. (‘You Just Like Me (Cos I’m Good In Bed) was the first song played on 2JJ) The question was, could Skyhooks transcend the ‘second album’ syndrome after such a leviathan of a debut. The answer was, almost.
Ego Is Not A Dirty Word was a solid follow up with Ross Wilson again producing. Inevitably there was an attempt to progress with a bigger sound, there was some unwanted interference from “ideas pests”, and guest artists, but the band didn’t require much assistance. ‘All My Friends Are Getting Married’ was an unremarkable faux-country hit, but the title track revealed Macainsh’s expertise as an almost mathematically precise song arranger, and was the band’s mission statement about self-confidence. Shirley Strachan was a surfie recruited for his cheek and ebullience. He also happened to have a voice which could hit the high notes effortlessly.
‘Love’s Not Good Enough’ is Macainsh composing three songs in one, with radical changes in tempo and sound from a gentle moody bass intro to sprightly verses, a middle section which is a rocking stomp, then subtle beguiling instrumental stretches for the last few minutes punctuated by curtains of shimmering guitars. At one point everything comes to a complete stop emphasizing how this is something akin to a ‘medley’ rather than a song.
Strachan plays both cocky male and sceptical female in this tale of misunderstanding and loneliness, an approach normally reserved for boy/girl ‘duets’. That Macainsh knitted all the elements into one seamless track is evidence of his buzzing creativity. Skyhooks were the phenomenon of mid 70s Australian music.
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.
Flowers’ classic single I Can’t Help Myself is almost thirty years old. The band became Icehouse and Iva Davies is now famous around the world, but when they started out, they were shooting their film clips in Sydney suburban car parks and playing taverns.
Part of a continuing online exhibition about Australian New Wave.
The New Wave in 1980
Can’t Help Myself was released in May 1980 by Flowers, reaching #10 on the Australian Singles Chart. Flowers were Iva Davies, Michael Hoste, John Lloyd and Keith Welsh. The single was produced by Iva Davies and Cameron Allan.
Iva’s parents, Neville and Dorothy Davies, speaking to Spellbound, remember Flowers –
Spellbound: When did you first realise that he (Iva) was gaining notoriety in the Sydney area?
Mrs. Davies: When he asked us to come and watch the filming of his first film clip in that car park in Chatswood.
Mr. Davies: Can’t Help Myself.
Mrs. Davies: We saw makeup people floating around and doing things. It was just a very great experience.
Mr. Davies: So we didn’t see one of those, but probably the first time we ever saw Flowers in concert was after they’d already released their first record and they were supporting XTC at the Capital Theatre in Sydney. We were actually invited to go.
Mrs. Davies: He virtually was saying to us, “I have got my toe on the first rung of the ladder. You can come now.”
Mr. Davies: By that time the first album was out and they were quite well known and I think that particular concert line-up was the Divinyls and then Flowers and then XTC.
Flowers were part of the New Wave circuit around Australia from the late Seventies to early Eighties, playing small venues with other bands – like The Reels – who specialised in wildly original music, sleeve art work, film clips and styling.
Flowers and New Wave
Flowers, Divinyls, The Numbers, INXS, The Reels, Sports, Mental as Anything and other bands crossing over from post-punk 1978 to the Eighties, were part of the New Wave.
Flowers won the 1980 TV Week / Countdown Rock Awards Johnny O’Keefe New Talent Award, beating INXS before they had to change their name to prevent confusion with the Scottish group, The Flowers. They became Icehouse.
“From the late 1970’s, until its controversial demolition in 1982, Brisbane’s Cloudland Ballroom became a regular venue for rock concerts. Some of the fledgling bands who played at Cloudland during this period went on to achieve chart success and establish longstanding careers in the music industry. One example is the concert of July 28, 1979 featuring three talented up-and-coming bands: XTC, Flowers, and The Numbers. State Library of Queensland is fortunate to hold several photographs taken during this concert.”
Flowers (later known as Icehouse) performing at Cloudland, Brisbane 1979. (Keith Welsh on bass guitar and Iva Davies on leader guitar and vocals). 29127 Paul O’Brien Collection 1970-1987. John Oxley Library, State Library of Queensland. Licensed under Creative Commons CC-BY
Iva Davies on the Eighties
Speaking to The Australian, Davies summed up the era: “I know it’s very easy to look back through rose-tinted glasses and say that period was good, but it’s accurate to say it…The energy that came out of the punk movement in England transferred here. When we started we were doing Sex Pistols songs alongside T. Rex songs. It was quite a weird collection of stuff. That whole energy ran into the new synthesiser technology as well.”
The Elvis Costello Songbook
With modern Australian acts like Cut Copy and Jet declaring what an influence Flowers was on them, the band (signed to Regular/Festival, above) remains seminal. But how was the group created?
As a trained musician, Sydney-based Davies was approached to music publishing companies to write the sheet music for Elvis Costello, among others.
Speaking to Stuff, he remembers, “These music publishing companies discovered there was a young fella – me – who could read and write music and they started sending me reel-to-reel recordings of every song in the Australian charts and then lots of international music as well – we’re talking about the days when sheet music was quite in demand, people wanted to buy the music for their favourite song and go home and try to play it. I wrote entire song books for Little River Band, Dragon, Sherbet, Cold Chisel, and then Elvis Costello and the Attractions, Ian Dury and the Blockheads… My life was pulling apart songs and putting them down on paper which was very instructive.”
With Icehouse and in his own right, Davies has become known worldwide for his work, including his composition of the score for the Russell Crowe/Peter Weir film Master and Commander.
Flowers in Roadrunner
Roadrunner is one of the few global music publications from the New Wave era to be published online. Find more on Flowers in this issue – and in their cover issue.
Vale George Young. The passing of the genius behind The Easybeats and a key member of the Young dynasty has generated new interest in AC/DC, the Young brothers and their huge influence on Australia.
THE AC/DC MAP
If you’re visiting Fremantle, Melbourne or Sydney and want to go on a Bon Scott and Angus Young pilgrimage, here are the sacred sites. On the AC/DC Map of Australia, Melbourne has to come first. Why? The band lived there. And Countdown made them famous there – mainly because Bon Scott put on a school uniform too.
AC/DC IN ELSTERNWICK, MELBOURNE
Bon Scott immortalised himself and the band filming Countdown for ABC-TV. These images are from Twitter #ClassicCountdown. Sarah Clarke @ACSarahAC is the source for the 1985 Countdown studio audience pass. Sadly the famous studio has now been sold to a supermarket. And by 1985 AC/DC had become world superstars.
MELBOURNE – ST KILDA
6 Lansdowne Road, East St Kilda. Demolished and replaced (like most of Melbourne music history) but nevertheless, nominated by music magazine Mojo as a contender for music history’s “vilest den of depravity”. There is also a free app if you are interested – put together by Australian music historian Bruce Milne and Music Victoria.
The St. Kilda Kitchen
It wasn’t all depravity, though. Sometimes there was cake. Trudy Worme’s mum used to drop her off at 6 Lansdowne Road on Sunday afternoons so she could cook dinner for them. She also baked Angus his favourite chocolate cakes. That definitely puts her on the AC/DC Map.
The visuals in AC/DC Lane (off Flinders Lane, Melbourne and the home of the ‘musicians’ music venue’ Cherry Bar) change all the time. Even if you’ve been here before, it won’t look the same. AC/DC Lane was the result of lobbying by Music Victoria’s Patrick Donovan (then a journalist with The Age) and James Young, who runs Cherry Bar.
This part of Melbourne is associated with Bon Scott (far right, with hippie band Fraternity) in particular. This is where he lost his flares, found his tight jeans and discovered his voice. You can walk from AC/DC Lane to Swanston Street and see the trail Bon and the band followed for It’s A Long Way to the Top.
The Hard Rock Cafe
The original Hard Rock Cafe was created by former AC/DC manager Michael Browning from the remains of Bertie’s, formerly Victoria and Albert. This is where AC/DC played for $1 and Angus Young fell on the floor and accidentally invented his ‘dying insect’ pose. It stood at 1 Spring Street.
The Australian Music Vault
The Hard Rock Cafe of Seventies legend at 1 Spring Street has now been swallowed up by the corporate towers of Shell (below). If you want to get a feeling for not only AC/DC, but also Melbourne music history though – the place which formed the sound – The Australian Music Vault in The Arts Centre Melbourne (opened December 2017) is a good place to start. Bon’s leather jacket is archived there.
SYDNEY – THE YOUNGS’ HOME
4 Burleigh Street, Burwood was once home to George, Malcolm and Angus Young. George went on to form The Easybeats and Malcolm and Angus went on to form AC/DC. Burwood is less well-known than AC/DC Lane in Melbourne or Bon Scott’s memorial in Fremantle, but it’s a highlight of the AC/DC Map in New South Wales.
Purchased in 1965 by the Youngs’ father, a migrant from Scotland the house at 4 Burleigh Street was home, after the family left Villawood Migrants’ Hostel. The house dates from 1906. Historian Glenn A. Baker successfully lobbied for its preservation (among with other Australian music landmarks) some years ago.
On 19 February 1980 Bon tragically died outside 67 Overhill Road, East Dulwich in London. There is no plaque there, despite a petition by fans – but Bon’s memorial in Fremantle is one of the National Trust’s most visited Australian sites. There is also a statue.
The AC/DC Map of Australia begins in Melbourne with the site of the old Hard Rock Cafe at 1 Spring Street (below) and stretches as far as Bon Scott’s grave in Fremantle. Images: Pinterest/Twitter
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.
Australian music video clips are curated all the time by professional musicians guest-hosting on Rage, the country’s ABC-TV long-standing weekend institution.
Access to 1970s and 1980s video archives from Countdown have given Rage an impressive library of video gold.
FROM MIX TAPES TO PLAYLISTS
Rage has now inspired a spin-off genre – the Millennial equivalent of the Mix Tape from the Eighties – the 21st century Spotify and iTunes playlist. Many of these contain long-lost 20th century Australian music finds – rarities or one-hit wonders. There is more to Daddy Cool and Ross Wilson than Eagle Rock.
ROCKARENA AND SUZANNE DOWLING
There are many excellent sources for Australian music video on YouTube but one starting point is the ABC-TV series Rockarena, hosted by Suzanne Dowling – featured below on the cover of RAM.
THE PEOPLE’S PLAYLISTS What about Australian music fans, though? How do they rate the nation’s best-loved tracks and the clips that go with them? Here are a couple to try.
Like the biro-scribbled cassette mix tapes of 30 years ago, they are the work of passionate fans, rather than professional programmers, but maybe that’s what makes them so interesting, if you want to uncover Australian albums and singles.
YouTube – The People’s Choice – Great Australian Playlists
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.
Australian music plaques are few and far between. Yet, Lygon Street in Melbourne would the place for a plaque for Shirley Strachan, who made certain parts of Melbourne his own, thanks to classic Skyhooks songs.
A Plaque For Countdown?
For a small industry, Australian music has achieved big things across the world. It has also lost a lot of people along the way. Countdown alone, situated at the old ABC Studios in Ripponlea, might deserve the biggest plaque of all – so long is the roll-call of names. Doc Neeson is just one of them.
Unforgettable Names in Australian Music
This is just a small selection of the Australian musicians who you might think deserve a plaque. Even if, like Grant McLennan, they already have a bridge.
Doc Neeson and Chris Bailey, The Angels Greg Ham, Men at Work Michael Hutchence, Max Q, INXS Chrissy Amphlett, Divinyls Guy McDonough and Brad Robinson, Australian Crawl James Freud, The Models Steve Gilpin, Mi-Sex Harvey James and Clive Shakespeare, Sherbet Dallas Royall, Peter Wells, Ian Rilen, Mick Cocks Lobby Loyde, Neil Smith, Rose Tattoo Ted Mulry, The Ted Mulry Gang Neil Storey, Paul Hewson and Marc Hunter, Dragon
Grant McLennan, The Go-Betweens
Tracey Pew, The Birthday Party
Australian Music Plaques – one for Tracey Pew? (Pictured)
Powderfinger are part of the Walk of Fame in Brisbane. Little Pattie and other surf icons are celebrated in the streets of Kings Cross outside a lost venue. Cold Chisel are also remembered in Kings Cross outside Sweethearts, which Don Walker made his own in the 1970s.
Little Pattie Kings Cross
Beatles Plaques? Remembering the Australian Tour
The Beatles slept here. This Australian Women’s Weekly magazine article from 1964 celebrates the group’s stay at The Southern Cross Hotel. Worthy of a plaque? Or should it be outside Melbourne Town Hall, where the band once stopped traffic on Swanston Street? This is the piano Paul McCartney played on, below.
Elvis Costello Was Here – at Flinders Street Station
Should Flinders Street Station, Melbourne receive a plaque for Elvis Costello, as the site for his famous video, I Wanna Be Loved? Or is it more appropriate that a digital plaque be created for Painters and Dockers, who commemorated the place in the classic song, The Boy Who Lost His Jocks on Flinders Street Station?
Mulry to Saddington – Gone, Not Forgotten
Let us know on Twitter who deserves a plaque in a place they called their own. Ted Mulry? Wendy Saddington?