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The pioneering legacy of No Fixed Address

Music / / 6 minutes of reading

Picture the scene. It’s 1982 and Australia’s future prime minister Bob Hawke – then the shadow minister for industrial relations – has accepted an invitation to launch a mini-album by an emerging Indigenous rock-reggae band called No Fixed Address. Hawke’s daughters are fans, and he recognises the importance of both the release and the symbolic gesture of a white politician endorsing it. There’s just one sticking point: the final song is called Pigs.

They’re always on the move

They call them the boys in blue

They’ll kick you in the head

Until they leave you dead

It is difficult to imagine even the current prime minister – a self-confessed music tragic – launching such a provocative release today. But Hawke goes ahead with it, saying the album is great – “but that’s not to say that every man and woman in blue is a thorough bastard”. The band’s drummer and leader, Bart Willoughby, turns around. “Yeah, there are good police out there – we just haven’t met any yet,” he shoots back.

The story of this radical group is told in a new book of the same name by Donald Robertson; on the back cover, Goanna’s Shane Howard describes No Fixed Address as “the tip of the spear” that plunged into the dead heart of middle Australia.… Read more..

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Michael Gudinski 1952-2021

Music / / 4 minutes of reading

For more than 45 years Michael Gudinski, who died on Monday aged 68, was a dominant, domineering, polarising but above all passionate figure in Australia’s cultural landscape. He lived and breathed Australian music.

Everyone who met Gudinski had a story to tell about him, not all of which are printable. What is indisputable is that life in Australia changed in a profound way when Mushroom Records – the label he co-founded in 1972 – released Skyhooks’ first album Living In The 70’s (complete with its errant apostrophe) a couple of years later.

Living In The 70’s topped the charts for four months, selling 240,000 copies. Beyond the sales, the album changed perceptions of what Australian music could be. Many of the lyrics (by bass player and songwriter Greg Macainsh) were hyperlocal to Gudinski’s beloved Melbourne.

In many ways, the album was a reflection of Gudinski himself: brash, hyperactive, coarse (more than half its tracks were banned from airplay), unapologetic and funny. It helped that it was released just as the music television show Countdown first appeared in Australian lounge rooms, with the support of Ian “Molly” Meldrum propelling Skyhooks to stardom.

Over the next decade, Mushroom released dozens of albums that presented their own interrogations of Australian life, from the Models’ Local &/Or General (1981) to the Triffids (Born Sandy Devotional, 1986), Hunters & Collectors (Human Frailty, 1986), the Go-Betweens’ 16 Lovers Lane and the Church’s Starfish (both 1988).… Read more..

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Champagne (music) television

Music / / 5 minutes of reading

Last year’s debut of The Set on ABC television – a house party style music variety show, with the tagline “live music has a new home” – was an attempt to plug a gaping hole in the national broadcaster’s programming: for a long time, live music had indeed lacked a home on our television screens.

The gap had grown so wide that it had generated its own nostalgia. We’ve had a TV mini-series on Countdown’s Ian “Molly” Meldrum, as well as Classic Countdown, and a recent documentary on the ABC’s late-’90s music television program Recovery (to go along with its reboot on YouTube, Recovered, with original hosts Dylan Lewis and Jane Gazzo).

As the Guardian takes a deep dive into the defining moments of Australian TV history – for better or worse – here are five from the glory days of local music programming. Please add your own favourites to the comments below – or nominate them in our poll.

#5: A water cooler moment: Madison Avenue at the 2000 ARIAS

Award shows are usually predictable affairs, and the ARIAs are no exception: little is left to chance and controversies – such as when Itch-E & Scratch-E’s Paul Mac thanked the dance duo’s ecstasy dealers in 1995 – often hit the cutting room floor before broadcast.… Read more..

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(I want my) music on TV back

Miscellaneous, Music, Television / / 4 minutes of reading

For two hours on Sunday night, it felt like a good proportion of Australia was gathered around a gigantic campfire. That campfire was burning on the steps of the Sydney Opera House, where Paul Kelly and his band were holding court – not just for the tens of thousands of people lucky enough to be there, but for hundreds of thousands more tuning in around the country, watching the ABC livestream and tweeting simultaneously.

Some say it’s rude to talk at gigs, but for me, watching from home, the excited chatter about what we were seeing added to the communal feel as #PaulKellyLive became the top-trending hashtag in the country. There was a collective awareness that we were witnessing a celebrated songwriter at the top of his game, and at a peak of popularity – at the age of 62, Kelly’s most recent album Life Is Fine was his first No. 1, a richly deserved success for a recording that’s up there with his best work.

Then someone said on Twitter: “We should have live music on the ABC every Sunday night.” Funny he should mention it: only two hours earlier, the ABC had screened its latest instalment of Classic Countdown, a restored best-of the vintage program which has also been a big hit for the national broadcaster.… Read more..

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The power and the passion of Midnight Oil still burns

Music / / 5 minutes of reading

I’m at home and listening to 10, 9, 8, 7, 6, 5, 4, 3, 2, 1; Midnight Oil’s apocalypse-themed fourth album. Fucking loud – there was never any other way to listen to them, really. I haven’t listened to the Oils for maybe 10 years, though, because I haven’t needed to. They’ve always been there. I’ve just caught myself singing quietly along to the opening track Outside World as I’m writing: every lyric is embedded in my skull.

Now it’s Only The Strong. “Speak to me, speak to me / I’m at the edge of myself / I’m dying to talk.” Midnight Oil were a deeply political band, but earlier in their career they could do post-punk existential angst with the best of them. They were everything you remember them to be, but also more than maybe you’ve forgotten, or perhaps ever realised.

To call Midnight Oil a pub rock band is, as Nick Kent once famously observed of Television, akin to calling Dostoevsky a short-story writer. They merely played in pubs before graduating to arenas and stadiums. Their closest peers were the Clash, Gang of Four, and early Elvis Costello; the Who their direct forebears. And they were genuine radicals.… Read more..

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Flowers in the wheelie bin

Music, Qld Politics / / 7 minutes of reading

In 1977, John Lydon – née Rotten – launched a vitriolic attack on the monarchy that brutally summed up the status of England’s youth in the year of the Queen’s Silver Jubilee: “When there’s no future, how can there be sin? / We are the flowers in the dustbin / We’re the poison in your human machine / We’re the future, your future!”

God Save The Queen, as performed by the Sex Pistols, is one of the greatest protest songs of all time, but I’ve long pondered over these lyrics. Was Lydon inferring that Britain’s future had been literally thrown out with the garbage, as the nation celebrated? Or making a statement about how great art can be constructed from throwaway refuse – one of punk’s defining tenets?

Or was he saying that art itself is nurtured by the oppression of the state? “We’re the poison in your human machine” is a wonderfully subversive argument to this effect, and it’s a line with ongoing resonance to Queensland. It’s a common assumption, for example, that the 1970s punk explosion in Brisbane, spearheaded by the Saints (who, let’s not forget, pre-dated the Pistols by as much as two years) was a reaction to the excesses of life in Queensland under Joh Bjelke-Petersen.… Read more..

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