The Festival Records Story by Brendan Hancock and Matthew J Schelle
Introduction John, Peter Allen and The Bee Gees. After decades at the top of the Music And it was also Festival Records, which Industry in Australia, Festival Records was instrumental in shaping the (now Festival Mushroom Records, after Australian Rock and Roll scene. a recent merger with the Mushroom With what was initially a simple label), are now celebrating their 50th investment from a group of old war anniversary. It’s hard to believe that an buddies working together, the label independent label such as Fcestival, went through ups and downs, but the which had an inconspicuous beginning company always bounced back, due to as a high risk-fast gain investment the combination of off-beat thinking opportunity, has steered its way past and sheer luck. numerous obstacles to become Although the Festival Records story Australia’s biggest ever independent does go beyond the years of 1977, it’s record label. It was Festival Records the early days that the real story, the which took the chances and as such, it real magic took place. From the people was Festival Records which was working behind the scenes to the artists Festival’s ‘REX’ label was created to house the best of the new young artist responsible in launching the careers of themselves, the following will give you who had joined the Festival Records countless Australian Artists such as enough information to understand how and why the famous label became what Family. The brain child of L. J Hooker. Johnny O’Keefe, Col Joye, Dig It produced hits from Noeline Batley, it is today. Richards, Johnny Rebb, Olivia Newton- Dig Richards and the Rjays. Part One Humble Beginnings 1951–1959
Shortly after WWII, a highly successful After some time, it was John and decorated army commander Dulhunty that saw the potential in a named Paul Cullen decided to finish small machine business known as his part in the armed services. He Casper Precision Engineering, located sought to put his keen business ideas in Redfern, Sydney. Dulhunty knew to use, and it wasn’t long before he that vinyl microgroove LP records established one of Australia’s first were becoming popular abroad and merchant banks: Mainguard Ltd. he also knew that EMI, the primary Mainguard’s duties were to set up record company in Australia at that 14th November 1953 saw the release of businesses in a range of areas, but time, showed no sign of adopting this Festival’s first record, "Meet Mr one of their most primary duties was new system. Callaghan" by Les Welch on a 78rpm. financing a number of innovative but Although this new venture showed high risk ventures. These included an the promise of being a ‘sure thing’, Record Breaking assortment of unusual and diverse Dulhunty knew very little about the In the early days of Festival’s record operations ranging from whaling music industry, so he sought out the production, initially there was a lot companies to rice farming. But just advice of popular Sydney bandleader of experimentation going on with because they were believed to be big and close friend, Les Welch. Welch both the shellac and vinyl micro- gain investments, it didn’t necessarily advised him there was indeed a need groove discs they were producing. mean that they always paid-off. for another, ‘alternative’ record Most of the experiments lead to Cullen employed some of his company, in Australia at that time. breakages, The first vinyl discs had former army buddies, John Dulhunty With that, Dulhunty convinced the rest no sound due to too much heat and Cyril Beavis, to work as project of the group that the enterprise could being applied, and their first LP (with the green and gold festival co-ordinators. Their main purpose be a good earner and he recom- label) could not be played because was to find struggling companies that mended that they invest in two Johns the gold metallic ink would spread could be cheaply acquired and then ten inch record presses held in bond all over the record making it glitter. turned around for a good profit. on the wharf.
8 BIG BEAT OF THE FIFTIES The Festival records head office and factory (until 1967) at 223-229 Harris Street, Pyrmont.
Immediately, Mainguard invested working presses installed on site. opera, ‘Tosca’, and firmly set the in the machine shop and moved in Record production started with seven standard that Festival were a force to the newly acquired presses. Les Welch at the old theatre, with another five at be reckoned with. Its major release was also given a permanent job at the Phillip Street office. The position coincided also with a set of local 10- Casper and they started to produce of festival’s first recording engineer inch LPs, which included Welch’s tailor-made shellac discs for individual was filled by a young electronics ‘Tempos De Barrelhouse’. Now clients. By late 1951, John Dulhunty genius named Robert Iredale. realising that they were set to fall had left to go overseas to ‘sniff-out’ After getting the initial teething behind, recording giants EMI quickly any potential copying, manufacture sorted out, Festival found it had to announced that they were going to and distribution rights for use in find acceptance from both the music begin pressing their own LPs in Australia, which in turn, would publishers and more importantly the Australia. Shortly after, ARC also become the foundation of the radio stations, the outlets which would joined that race, pressing 45rpm and company’s first lot of professional widen their exposure. At that point in 331/3rpm microgroove recordings at record catalogue. On his return, time, most Australian radio stations Dulhunty had a licence to release were unenthusiastic about playing classical recordings from the well Australian records on air. In an known and highly respected United attempt to get around this hurdle, States label Westminster, but also Festival set about to make Australian struck-gold with licenses from other made covers of overseas hits. By labels such as Remington, Regent, seeking out cheap but talented local Savoy, Atlantic and the non US labels artists, Festival could cheaply push Vox from England and Metronome in their way into the critical ‘airplay’ Sweden. doorway. After the product had been sorted It was 14 November 1952, when out, a new name for the record Festival’s own Les Welch recorded company was needed. After a ‘Meet Mr Callaghan’. Festival’s first brainstorming session, it was official record, a 78rpm disc, was Dulhunty’s wife, Judith that came up given the catalogue number FM-1019 with the name ‘Festival’. On the 21 instead of FM-1, so as to give out the October 1952, Festival Records Pty image that Festival was a big gun in Ltd was born. The newly formed the business. This first record sold company moved its office to 126 over 10,000 copies within weeks, so it Phillips Street Sydney and Dulhunty, wasn’t surprising that Festival’s next was selected to become Festival’s first releases were also by Les Welch. managing director. In 1953, Festival released a March 1952 saw an old picture prestige-packed set of the total theatre in Gladesville leased, and ten Westminster recordings of Piccini’s An early festival records catalogue.
MAY 2002 9 Festival’s ‘53/‘54 Catalogue catered for An employee working in the most often humid section of the manufacturing a good amount of popular jazz, swing, section of Festival Records. show tunes and stage musicals. an exponential rate. John Dulhunty realised that it wouldn’t be long Old Time Rock before the competition would catch Oddly enough it wasn’t just the up to Festival’s gains and set about to teenagers who responded to the return to the US in 1954 to secure a new rockin’ sound, brought on by Rock around the Clock, as it was significant piece of the Decca Records there were more copies of ‘Rock catalogue. Due to his success with around the clock’ sold then there Decca, Festival now had the rights to were teenagers to buy them. produce records from artists such as Thousands of adults also saw the Louis Armstrong, Danny Kaye, Bing film The Blackboard Jungle and Crosby, Frankie Lee and many more. asked for the Bill Halley hit the very Because of such luck and skilful next morning. Even some people thinking from the likes of Dulhunty in who didn’t even have a record acquiring the overseas catalogues, it player bought the record first and then a player to play it. An example of a typical early Festival was not surprising that in next to no Records Release. time Festival Records had become the second largest manufacturer of 45rpm extended play (EP’s) to once records in Australia. Due to the more edge out the competition from increase and demands of manufactur- EMI. In July 1955, the first of many ing and sales, the company moved its 45rpm ‘singles’ was released. This office from Phillip Street to a single was in the form of Les Welch’s converted warehouse at 223-229 cover of the overseas hit, ‘A Man Harris Street, Pyrmont. But even with Called Peter’, with vocals supplied by the sales and success that Festival a promising local talent named Darryl were having, they were still struggling Stewart. The song itself was based on financially, but they kept with it, in the the life of a Scottish clergyman hope that something would come named Peter Marshall, chaplain of the along and push them through. US Senate. Due to Festival’s limited In the mid 1950’s, another size, funds, the song was recorded under the 45rpm 7inch record was quickly extreme difficulties. There had not Les Welch at the piano with a vocalist being developed, with many been enough money to hire a big Larry Stellar. Welch was responsible for gramophones being adapted to play band backing, so instead Darryl and a lot of Festival’s early hits. Which were them. And it was Festival Records, the rest of the crew had to settle for mostly made up of cover versions of which, once again, saw the marketing one trumpet (with echo) and one well known overseas numbers. potential early and began issuing organ. Due to the tight and simple
10 BIG BEAT OF THE FIFTIES Les Welch, Pianist, Bandleader and singer. He was already well known before Festival asked him to join the company, who in turn became their first The Film Blackboard jungle, and the song “Rock around the Clock” which was recording artist but also the company’s played over the credits. Have been responsible for not only bringing rock and roll to Artist and Repertoire manager. the attention of many. It also help give festival records it first real taste of success. nature of the amount of instruments wave of potential marketing revenue, and money, the end product was the other decided to create a rock and simple but highly effective. The single roll band. was released in August of 1955 and Ken Taylor knew that this new rock sold over 100,000 copies throughout sound would mimic the craze that had Australia. already taken over the U.S. He also In 1955, crowds of people visited realised that the Australian ‘young- their theatres around the April to June sters’ would be ready to identify with period. For all these people who went rock personalities, and so he knew he to their local cinemas, it can be said had to give birth to Australia’s own that they were there for only one film local rock artists, who each had the in general. The low budget, black and power to reach out and touch, but white American film had caused a also make or break Festival. But Ken With the Help of Les Welch, Darryl controversial sensation back home, Taylor wasn’t the only one at Festival Stewart’s "A Man Called Peter" was not and it was barely a shock that the Records who saw the promising profits only Festival’s first 45 rpm single it sold same would happen here. ‘The from rock and roll, and most over 100 000 copies. Blackboard Jungle’, starring the importantly the Bill Halley song ‘Rock popular actor Glenn Ford, would be Around The Clock’. Les Welch was responsible for turning the lives of so already looking into acquiring the many people in a completely different distribution rights, and as luck would direction. The film, now lodged firmly have it, EMI failed to recognise the in music folklore, is regarded as being potential of the song and chose not to the spearhead of the Rock and Roll take up their first option to release it. scene both in the United States and in Welch and the Festival team quickly Australia. The sounds of Bill Haley snatched up the rights and rushed the and his Comets filled the theatres in release of the record in August, 1955. Sydney with ‘Rock Around The Clock’, The hunch paid off and the record giving many people the opportunity to became an immediate success. For meet their potential with this new weeks at a time, all the manufactur- A cover of a Les Welch early recording. musical style. Festival’s A & R (Artist ing staff were working around the Although the company was in its and Repertoire) man Ken Taylor was clock to fill the overwhelming supply infancy, fancy names like ‘Manhattan’ at the premiere, and so was a young of orders, and not surprisingly, for that and optimistic catalogue numbers were Johnnie Ray impersonator named period, it was the only record the used to give the impression of a larger Johnny O’Keefe. One decided to get company was manufacturing. established company. in on the song and cash in on the The record, ‘Rock Around The
MAY 2002 11 The Contract It seems the story of Johnny O’Keefe’s recording contract with festival records has become rock and roll folklore. As Ken Taylor states in his book ‘Rock Generation’ it was the company secretary who broke the news to him with when he showed him the morning’s Sydney Morning Herald. “I see you have booked your first rock artists,” the secretary said. “Oh I have? tell me more,” replied Taylor. “Someone called Johnny O’Keefe has announced in the press that he has been signed by us.” Ken Taylor then asked his secretary to get this Johnny O’Keefe on the phone. “Congratulations,” he said, not trying to hide his sarcasm. “On what!” O’Keefe replied. Bill Haley and His comets in 1955. “I understand you have been signed by Festival Records?” Clock’, went on to sell over 144,000 numbers that would rock the growing copies and secured its place in history teenage market. It became the case There was a pregnant pause, by becoming the fastest selling single that if Taylor failed, Festival’s demise and then O’Keefe cautiously said, for any Australian record company. would be inevitable. And then, as if by “Who’s speaking?” Not only that, but it also made some fate, he found Johnny O’Keefe, or “Ken Taylor, the general sales much needed money for Festival and rather, Johnny O’Keefe found him. manager and artists and repertoire also proved that the 45rpm single On a typical morning at Festival manager of Festival Records.“ could be a great seller. It also revealed Records during the ‘sign up’ search, Another pregnant pause and an, as of then, unexploited money Ken Taylor sat down to read his then: “Well, am I?” generator in the form of ‘the Sydney Morning Herald newspaper to Ken Taylor responded, “I don’t teenager’. The teenager was the discover that the hunt for Festival’s know – what do you do?” perfect market, easily influenced by first Australian rock artist had finished “I sing.” trends and because they had just without him. In the press, Johnny “Can you prove it?” been given a standard hourly wage O’Keefe’s name stood alone as being O’Keefe regained his composure increase, in some cases earning more the artist. Intrigued by this, Taylor and asked “Will you give me an money than their parents, they had called JO’K to congratulate him on his opportunity?” more cash to burn than ever. success. During the conversation, “Yes, come and see me.” Ken Taylor soon realised that for Taylor invited the performer around Festival’s continued success, he had for an audition at his new office at So O’Keefe took up Taylor’s to cater for the teenagers and the new Harris Street, Pyrmont. After being challenge and proved to him that he could indeed sing. Although commercial market that was forming given an interview and a standard Taylor wasn’t to overly impressed around them. Taylor knew that it was audition, Taylor, amazed at both with O’Keefe’s voice. He was finally the time to break through with Johnny’s talent and audacity, signed impressed with his confidence, and this new sound and some newly him up as Festival’s first Australian sheer determination. O’Keefe got needed talent. Although the rest of rock artist: this time for real. his recording contract and with the company weren’t as optimistic as After Johnny O’Keefe’s signing, suggestion and blessing from the he was, Taylor was quickly given the news quickly got out that Festival were then touring Bill Halley, Recorded responsibility of tackling the market. looking for a team of artists to be and released in July of 1957 (You Through this position and his newly attached to their label. Soon enough, Hit The Wrong Note) Billy Goat found power to make or break Festival were flooded by a wave of with I’m Still Alive (The Chicken careers, he was eventually seen as a rock wannabes, each one a clone of Song) as its flip side. Despite constant plugging at dances and god-like figure through the eyes of some other rebellious role model that socials, the single received limited promising young artists. they had seen or heard about. Of the airplay and sold around 2300 The plan of attack was simple: many that tried to stake a claim at copies. local people, local talent and musical Festival, few had what it took to be
12 BIG BEAT OF THE FIFTIES stars. Then, quite unexpectedly, a group of former country and western Talent style artists who had evolved into In his book Rock Generation, Ken flashy rockers, took the lead in the Taylor described the basic charac- prospective sign-up stakes. The Joy teristics found and the sort of Boys, formerly known as the wildlife that would be attracted to an open audition or ‘talent quest’, K.J.Quintet, led by singer Colin of which he held at his festival office Jacobson with brothers Kevin and on the night of the first Friday of Keith in tow and young drummer every month. Many young hopefuls Johnnie Bogie and saxophonist Laurie would come with their guitars, Irwin, grabbed Taylor’s attention. drums, gimmicks, sheet music and Intrigued by their potential, Taylor other instruments to prove to Ken An early publicity shot of a very young took five girls from his office out to a Taylor, Mr Make or Break, aka J.O’K. His sheer tenacity and ego got concert at Manly to see if his feelings GOD, that they were indeed the him signed to Festival Records as their were right. The girls, all unbiased, next Elvis, Frank Sinatra or Ella very first Rock Artist signed to the label. smart and not the type easily Fitzgerald. Most of whom turned up impressed, acted as secret judges. to these ‘talent’ quests, where most of the time void of such a thing. A Despite their placid nature, they were lot of these very same people where won over in minutes. The very next absolutely certain that had the day The Joy Boys were signed. goods to be the next music star and Almost immediately Johnny in some cases were convinced that O’Keefe warned Ken Taylor that they were indeed better than the differences between Col Jacobson and O’Keefe’s, the Joyes, The Devlins himself, both personality and artistry and Batley’s. So when ‘GOD’ wise, would cause rivalry between the through his finger down and calmly two. The two men were polar oppo- but frank, gentle, but honest, told sites: Col was a relaxed, straight- them that there voices, their talent forward kind of guy whereas Johnny or even their whole act sucked. Ken Taylor, Festival’s A&R man for These self disclose ‘stars’ found it was outgoing and dynamic, which many years, also considered by many impossible to accept. as ‘GOD’ due to his ability to make or would lead to his eventual nickname, Although bribery was believed to break a career. ‘The Wild One’. It would be these be the key to win ole’ Ken Taylor differences, which would present over, It was soon realised that the Festival with a unique platform, where man could not be persuaded, and they could sell the singers to different would never change his mind over types of consumers. Col’s gentle any person who seemed void of nature would give Festival the edge in talent. Although it wasn’t un- the more conservative market common for young and ambitious whereas Johnny’s attitudes appealed Marilyn Monroe mimicked looking more to the kids who were only out to girls to seductively sway into Ken’s Office and offer an alternative form have a good time. But despite Taylor’s of persuasion. Ken being the decent plans to build up a set of unique man he was, made sure these girls artists for Festival, some insiders were would finish their ‘act’, which criticising his ideas, believing that it sometimes lead to his amazement would be hard for the company to to a complete striptease. Ken promote so many artists at one time. admitted these girls were talented, The beautiful Judy Stone, who’s single There was also a feeling that the stars but not musically. And needless-to- ‘4,003 221 Tears from Now’ was a might detract from one another. say they never got a recording huge success for both her and Festival. Despite all this, Taylor pressed on, contract from Festival Records. with grander things in mind. Taylor was going to make each performer an brother entitled, ‘I Wanna Love You’, individual task, each with their own that sealed the deal. distinctiveness. Now that he had enough artists Dig Richards, the third performer onboard, Taylor instigated another to be signed to Festival, was another search, this time for the right songs kettle of fish. His appeal seemed to for the artists to use. During this time, have more to do with his simple and many public appearances were set up partially withdrawn nature than for Festival’s fledging children. These anything else. It was his James Dean- included picture signings and record esque looks which helped him get his shop appearances. At times, Taylor Ken Taylor with Noeleen Batley and foot in the door at festival and it was arranged for the press to ‘accident- Brenda Lee (right). his unfinished composition with his ally’ be informed of where and when
MAY 2002 13 an artist would be out and about. It wasn’t unusual for Col Jacobson, who by now had changed his name to Col Joye, to be mobbed simply when walking down the street. Although on a few occasions the artist themselves were rumoured to have paid fans to ‘go crazy’, Ken Taylor disapproved of such unnecessary actions. Indeed, Festival and Taylor himself, knew what they were doing. Due to the success of the previous year, Festival branched out even further and obtained the remaining catalogue from the Decca and Vocalion labels. In doing so, Festival Records now had artists such as Jackie Wilson and Buddy Holly to add to their growing overseas catalogue collection. Now that the company had expanded completely into their news Harris Street address, with a new recording studio and laboratory, a new factory manager named Gordon Marshall set about building more brand new microgroove presses. And with every new record made on the presses, a ceremonial christening was given, with a nice bottle of bubbly. Whilst Festival were expanding and showing signs of being a major success in the record business, based primarily on the good fortune from ‘Rock Around The Clock’, Main- guard’s other businesses and invest- The Gentleman of Rock, Col Joye signing Autographs for fans in 1961. Joye was ments were having a major battle with the second Rock and Roll artist to be signed by Ken Taylor of Festival Records. dealing with debt, let alone making any profits. Because of this, share- holders watched as Mainguard declin- ed quickly until it ceased to trade as a merchant bank in 1958. In May of 1958, the L J Hooker investment corporation, who were interested in Mainguard’s real estate assets, took over the floundering company with a controlling share. Shortly after in August, Mainguard became non-existent on the stock exchange and L J Hooker personally took over the management of Festival Records. During this time, L J Hooker consolidated its gains in the industry by buying a music publishing business called Crown Music Publishing and by also setting up a subsidiary to Festival named Rex Records Pty Ltd, which was to be specifically used for Festival’s top local artists. To Be Continued… Three Legends of Australasian rock and Roll. The wild one Johnny O’Keefe, with Johnny Devlin and Dig Richards in 1964
14 BIG BEAT OF THE FIFTIES Next Issue The Festival Records Story Part Two The business side of record making comes into play when Rupert Murdoch, in the process of building his media empire, takes control of a vulnerable Festival records, which harks a new era in the company’s history, when the wholesome values and spontaneous magic of the 50’s makes way for the drug induced, sex filled 1960’s. We will also have a look at the artists that help shape not only Festival Records, but Australian Rock and Roll as well. We will look into some of the most popular labels, such as Lee Gordon’s, ‘Leedon’ and ‘Lee Gordon’ labels, more on ‘REX’ as well as some other classic tales from life inside the walls of Festival Studios. Also Check out the official ARRAS web site, for a multimedia version of this article, which will feature colour photos, downloadable artworks, and music. www.tararas.cjb.net A Nice shot of Col Joye, The Gentleman of Rock and Roll.
Division decision and was furious. Mainly some of the parent company’s Not long after the Sydney real estate because L J Hooker took the Record prestige and glory will rub off on to Investment Company L J Hooker took company on as an investment and Festival Records. That was my plan. It over Festival Records, A&R man Key because of his lack of knowledge in will give us the edge I need to make Taylor was also given the double duty running a record business he was an impact for Festival. And it’s my of Sales Manager. Taylor soon already looking into ways to sell the belief that in a very short time the realised using the famous L J Hooker company and still make a profit. glory of Festival records will be name would be a great benefit to the An urgent meeting was held, with rubbing off on L J Hooker.” company, and made his first job as Ken Taylor the centre of attention. There was a pause, silence, sales manager revamping of the Then Hooker, businessman Hooker looked at the bald man with company’s stationary, letterheads, erupted. the pencil thing moustache and and business cards and most importantly “By what authority, have you smiled. the record labels to include the words publicly associated Festival Records “Mr Taylor, go ahead. And if you ‘A Division of L J Hooker Investment with the L J Hooker Investment have any problems from any source Corporation’ to be placed just under Corporation?” or from anybody, speak to me the now famous festival logo. This he “Well we are associated, aren’t personally. Push it as far and as fast thought would be a great way to we?” replied a cool, calm and as you can!” capitalise on the well-known L J collected Taylor. It wasn’t long after that L J Hooker Hooker name, and in turn help the “That’s beside the point,” yelled created the ‘REX’ label that was struggling Festival Records to be Hooker, “Who gave you the authority designed for the elite of Festival’s new noticed and taking even more to do this?” and then came Taylor at local talent. Some of the artist seriously. In his own words Taylor his persuasive best… featured on the label included Dig thought the use of the L J Hooker “Nobody…But Festival Records is Richards and the RJays and Noeline name with the Festival logo, ‘implied an Australian Company – about to sell Batley who’s single Barefoot Boy that we would stand solid and Australian performers to Australia. reached No. 5 in most states of straightforward through all shades of The L J Hooker Company is an Australia during 1960, making it one fortune.’ But instead Hooker himself Australian Company selling Australia of the labels successes. Unfortunately found out about Taylor’s executive to Australians. It is my conviction that the label was phased out by 1961.
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