to everyone who contributed to this book, the exhibition, the accompanying CD, the split 7”s, and the various associated events • to the Art Gallery for taking a punt on an 1 THE WANDERERS, Dot unknown • to the curatorial team for providing me with guidance, 2 THE MARKSMEN, Moonshine 3 THE EXECUTIVES, support and laughter • to the co-curators who created displays My Aim Is To Please You from a collection of passion and memories • to the artists who 4 LIBERTY, I Really Don’t Mind 5 TARQUIN, Joker interpreted our musical history in a visual way • to those from 6 HARD GRIND, Mile Away 7 SVEGIE’S VEGIES, Lonely Trail afar who placed their faith in me sight unseen • to those close 8 THE PROTON ENERGY PILLS, by who placed their faith in me even after seeing me • to the (Less Than I) Spend 9 SOCIAL OUTCASTS, people who opened up their homes, archives, memorabilia boxes, and Wasted Youth hearts • to the musicians, venue operators, retailers, managers, 10 MAN BITES DOG, The Picture 11 TUMBLEWEED, Stoned promoters, booking agents, photographers, writers and DJ’s who 12 ZAMBIAN GOAT HERDERS, Starshine shared their memories so readily • to the local businesses who 13 STEVEN ROBINSON, helped with practical stuff • to the management committee back I Don’t Need This 14 INFUSION, Rattlewasp at my ‘real job’ who gave me time off to work on this project • 15 DROPPING HONEY, Lethologica to my mum who gave me the love of music • to my family who 16 FUGG, I’m Psyched Tonight, Mike 17 SEGRESSION, Cage of Nails encouraged me even though it often meant I was sometimes absent 18 THE ARGONAUTS, On a Journey 19 BRACODE, Cutting Room Floor from the conversation at the dinner table • to the friends I have 20 BABYMACHINE, Wollongong made along the way. 21 TOPNOVIL, Let It Boom 22 BRUCE!, Shapes & Numbers Warren Wheeler 23 HOCKEY DAD, I Need A Woman All tracks mastered by Ben Davies, Silver Sound Studios, Wollongong

Copyright Wollongong Art Gallery, 2014 Editor: Warren Wheeler Designer: Mark Dalla Pozza Wollongong Art Gallery has made every effort to locate and acknowledge the copyright holders of the images reproduced within this catalogue. In the event of an incorrect or missing acknowledgement please contact the Gallery.

1 Wollongong’s proximity to ’s vibrant music scene created a sense of a secondary The arts provide an important outlet and city somewhat isolated from other music scenes and too often overlooked in terms of potent voice to the experiences of individuals Various community halls, clubs and coffee its creative, original and unique music and communities. Music in particular is both a shops around the Illawarra were frequently heritage and voice. While Wollongong has broadly accessible and compelling force in used for live entertainment before this and arguably never reached the same level of It is the temptation of many, in a bid to disseminating the thoughts and feelings that there were even a few attempts to establish influence as some of its sister cities and retain the ashes of a misspent youth, to underpin our understanding of who we are and live music venues in the region, such as The towns it too has nurtured a long, tenacious, romanticise the past with a bit of spit and where and when we live. Mocambo and The Folk Den, but Zondrae’s was rich, and important music scene within its polish. It reminds us who we were, the dreams the first space outside of the clubs to succeed. regional boundaries. A port city with a we had, and the promise we made to ourselves It is no coincidence that some of the most to not grow old. It’s a promise far too few of powerful music created over the past century strong identity and famous for its working Zondrae’s vision was not that different to class culture, Wollongong has been shaped by us manage to keep as we slowly succumb to the has come out of working class towns and cities burdens and responsibilities of adulthood. many small venue operators in the region around the world. Cities and towns possess a unique and delicate balance of human today. Disturbingly, the challenges she faced something like a soul – insubstantial vessels endeavour, industrial enterprise and natural Still, the danger of neglecting our memories are also very much the same that venue that contain the essence of time, memory and beauty while never shaking off its working- is that we forget how wonderfully innocent operators face in 2014: noise complaints, community identity and spirit. Within these class traditions. and wildly adventurous youth and young parking restrictions, curfews, and so on. places it is the everyday struggles to survive, Though it is heartening that, with the The exhibition Steel City Sound celebrates adulthood can be. The seemingly endless a general disenchantment with the state of establishment of the Live Music Taskforce, fifty years of Wollongong’s music heritage. summers where days were long but love was society, as well as a discomfort with social Council is finally recognising the economic It takes an intimate look at the venues, fleeting; the Friday night parties that prejudices and the disaffection it engenders and cultural value of small live music venues, bands and music that helped give voice to extended into Sunday; meeting with friends that provide a perfect foundation for an it has taken 50 years for them to reach this generations of people living in this city and over a few drinks down at the local, the band explosion of a new creative energy. point, and it will take a few more before we its surrounds and pays tribute to those drunkenly stumbling through their set. see the outcomes of the unlikeliest of unions. The music created in these cities and towns musicians and artists whose creativity have It is against this soundtrack that Steel City often reflects the spirit of the age and makes added to our understanding of our city and Sound was first brought into existence almost Over these five decades many venues have come a virtue of the working class. Lyrics are helped delineate who we are as a community. five years ago. Inspired by a colleague who and gone. Some have left an indelible imprint typically plaintive, raw, angry or angst-filled. in our memories with lifelong friendships The idea behind this exhibition had been in would regale me with her tales of the It is the poetry of the masses often addressing forming to the beat of those performing on discussion and development at Wollongong Art Wollongong punk scene in the early 80s, and themes such as social inequality, alienation, stage. Countless bands have formed and split Gallery for many years and it is a pleasure bastardising the title of Clinton Walker’s apathy, confinement, and a desire to break free during this same time. Some of these acts have to finally present it to you. I would like to historical treatise on the national punk scene from the societal constraints of class. been talented, hard working and fortunate take this opportunity to thank all the of the same time, I set about researching and enough (for it undoubtedly takes a combination artists and contributors for their important collecting stories, memorabilia and music from Bands that form out of these fertile social of all three) to attain some level of success participation in this project. I would also the region without limiting myself to hotbeds invariably sing in regional voices beyond our postcodes. But the music business particularly like to thank Warren Wheeler arbitrary boundaries of genre or time periods. making references to local places and culture, can be cruel and unfair, and many more who was engaged as exhibition curator particularly working class culture. On the Operating without boundaries however presented equally deserving bands have disappeared, through the Gallery’s Visiting Curator world stage working class cities such as its own limitations as I had no anchor point having been heard by local ears only. Program. Warren’s extensive knowledge of the Liverpool, Detroit, Manchester and Seattle from which to explore. That was until I met Despite these odds, generation after generation local music scene and its history, as well as became the epicentre of some of the most Zondrae King. As a young woman in the 60s, have taken to the stage to entertain us. his boundless energy and passion for this important and revolutionary music scenes. Zondrae fearlessly stepped into the world of This exhibition, this book attempts to tell project, has been both appreciated and Closer to home the immigrant working class rock n’ roll and started her own live music that story. town of Elisabeth in South , the instrumental to its success. venue at the tender age of 19. grungy West End of Newcastle, ’s seedy Warren Wheeler, September 2014 Fortitude Valley and the music hubs in We hope you enjoy the exhibition. Rock On! Sydney’s inner west and ’s St. Kilda John Monteleone Program Director became equally important and influential.

2 3 The Orbits c. 1961. Photographer unknown. (Mick Chamberlain collection) The Coffin Cheaters (L-R) Benny Imperatto, Dennis Worthy, Arnie Olbrich, John Crasnich. Photographer unknown. (Arnie Olbrich collection) The Coffin Cheaters first got together at the Berkeley Hostel in 1963 and continued to play together for the following 5 years.

In the wake of Little Richard’s explosive Though this book and the exhibition it performance, bands began to form in bedrooms accompanies places post ‘65 rock n’ roll sharply and garages across suburban Wollongong with in its focus, it would be remiss of us to early incarnations of The Wanderers, The overlook the groundwork laid prior to this date. Marksmen and The Tornadoes (arguably the world’s longest running band, heading into George ‘Johnny’ Johnson and the Rebels perhaps their 55th year) starting to pick out chords take the honour of being Wollongong’s first on their instruments purchased from local established rock n’ roll band, initially forming music retailers. in 1957 just as Little Richard was preparing to play Wollongong’s Crown Theatre with Johnny In the summer of ‘63/’64 a young girl by the O’Keefe in support. name of Toni Knipe opened and operated her own venue, The Mocambo, on Crown Street. By day, The Rebels played up and down the Illawarra the venue ran as a dance studio, converting strip, at a number of venues that are still into a live music space in the evening. Toni’s standing today (The Rex, The Charles Hotel, The parents served soft drinks and chips to the Cabbage Tree), though the band rooms have long young patrons as they ‘stomped’ along to the been replaced with the more lucrative pokies and surf tunes popular at the time. Such was the the decor upgraded to attract dining families. enthusiasm of the stomping that the downstairs Johnny Johnson & The Rebels perform at The Pacific Hotel, Cringila. Photograph by John Falzon The Rebels are also more than likely the first retail tenants would complain about the ceiling (George Johnson collection). The Rebels were arguably the region’s first rock n’ roll band local rock n’ roll band to have released a flakes on the floor when they turned up for having formed in 1957. Vocalist George Johnson performs to this day at the spritely age of 80. record, after travelling to Victoria for the work the next morning. Two house bands, The recording sessions. Though George Johnson Astroneers and The Marksmen, made weekly himself admits it wasn’t very good, no surviving appearances, until the landlord grew weary of copies are known to exist to be able to counter the neighbours’ complaints, and the place was the frontman’s modest claims. closed in March 1964.

4 5 The Wanderers, c. 1964 (L-R: Neville Palmer, Wally Buczma, Rod Maloney). Photographer unknown. (Wally Buczma collection). The The Marksmen perform at a wedding at Corrimal Community Hall c. 1964. Wanderers recorded with local sound engineer Ossie Byrne though Photographer unknown (Neil Porter collection). The Marksmen’s one and only the recordings were never released. 45rpm release is considered a ‘holy grail’ amongst record collectors worldwide.

The Folk Den operated only briefly in 1964. This ad was taken from the South Coast Times in August of that year. Mick Chamberlain of Surfside 4, temporarily altered to Surfside 5 to accommodate a guest on this occasion. Photographer unknown (Mick Chamberlain collection).

A few months later, two young girls, Kellie Sinclair-Wood and Rita Harland, establishing himself a new studio in also tried their hands at venue Hurstville. By this time Byrne was co- management by opening a folk club on managing a hot, young band called The Bee the corner of Keira and Crown Streets. Gees. The entrepreneurial producer gave Despite a promising start, The Folk Den the enthusiastic trio unfettered studio was only open for three months before time to hone their sound. Byrne produced lack of interest forced them to close the The Bee Gees’ first local hit ‘Spicks & doors permanently. In hindsight, opening Specks’ and then moved to the UK with the in the middle of winter probably wasn’t band where he recorded their first the shrewdest of business moves. international hit ‘New York Mining Disaster 1941’. The Tremors c. 1962 (L-R) Dan Coutts, Dave Kirkup, Neil Porter, Also around this time a young man from Lyle Maclean. Photographer unknown (Neil Porter collection). Queanbeyan had relocated to Tarrawanna Back home, bands such as The Surfside 4, and began playing around with recording The Fireflies, and The Modernaires were The Nightwalkers at The Royal Hotel, Wollongong c. 1964 (L-R) Johnny De Jong, equipment. Ossie Byrne recorded a handful rockin’ up local stages and Wollongong Geoff Hunt, Terry Murtie, David Barton, Henry (surname unknown), Louis youth culture was beginning to find its Dekker. Photographer unknown (Anne Barton collection). of local acts including The Wanderers and The Del-Fi’s in the early 60s before own voice, with one young, unassuming woman in particular about to steer the scene into unchartered waters. 6 7 Beethoven’s World, Open Hearth Arnie Olbrich from The Coffin The Sons of Adam performing at Corrimal 1968. Photographer unknown Cheaters performs at Pioneer Hall Community Hall in 1967. Photographer (Anne Barton collection). in 1967. Photograph by Jens Madsen unknown (Carole Bartlett collection). (Arnie Olbrich collection)

own and exchange dangerous ideas, swap phone numbers, snog in the corner, or play a game Zondrae King (nee Della Bona) was raised in the shadow of chess to the soundtrack of the latest rock of the now dearly departed Port Kembla smokestack. n’ roll radiating from the much-loved jukebox. Born to strict Catholic parents, Zondrae first fell in love with rock n’ roll when her father brought home a This room, whilst not a music venue per se, transistor radio. This small piece of technology acted may quite rightly be credited with helping to as a window to the world and brought the rock n’ roll usher in the local music scene as it was sounds of the UK directly into Zondrae’s bedroom, frequented by many young musicians who would sparking a flame that burns to this day. eventually come together for a rehearsal or two. It was also the place that inspired young As a teen, Zondrae secured a position at a travel Zondrae to open her own venue, catering agency located in Wollongong’s CBD. It was an specifically to the youth of the Illawarra and unexciting job but one that eventually lead to Zondrae the music, art and fashion that interested stumbling upon the Bamboo Room one lunch break. them. A small coffee shop discreetly located in Globe Arcade, Coercing her mum into being her business The Bamboo Room was popular with local teenagers who Zondrae King stands outside her Keira Street venue in June 1966. partner, and convincing a wealthy aunt to felt welcomed under the non-judgmental eye of the Photograph by Graham Ledwidge (Graham Ledwidge collection). provide the much needed start-up cash, Zondrae Hungarian owners. So named due to its tiki decor, The was barely 19 when she first opened the doors Bamboo Room not only served coffee (and some say sly to her eponymous venue. grog) to the restless youth, it also provided a safe space for young people to meet, a place to call their

8 9 The Bamboo Room c. 1967 (L-R) (front row): Des Howarth, Heather Sloan, Lorraine Hall, Michael Mitchell, Kerry Eckford, West End perform at Bowral Community Hall in 1967. John Nakken (Four Sale), Grace Proctor, Ben Stenekes, (back Photograph by Jens Masden (Anne Barton collection). row) Neville Harlow (Four Sale), Graham Elliott. Photographer unknown (Ben Stenekes collection). Situated in Globe Arcade, The Bamboo Room was a popular cafe amongst the region’s youth. It is here that Zondrae King first got the idea of starting her own music venue.

Carole King of The Executives. The Executives are one of Wollongong’s most successful musical exports. Go-go dancer Carole Bartlett, The Shalamars went to the UK in 1966 and became Based in the northernmost part of the region, the c. 1967. Photographer unknown band had a string of minor hits in the late 60s the house band for Pontins Holiday Park. (Carole Bartlett collection). Photographer unknown (Mick Chamberlain collection). before trying their luck in the UK. Photograph by The Legends. Photograph Graham Ledwidge (Graham Ledwidge collection). by Maurice Photographics (Phillip Miles collection).

Over the next 18 months Zondrae’s became the venue for most popular, however the more entrepreneurial Imagination (post-The Marksmen) in 1969. bands, as performers and audiences began to shun its promoters started to follow Zondrae’s lead and Photographer unknown (Neil Porter collection). main competitor, Pioneer Hall, due to the strict dress opened their own dedicated venues. and dancing codes imposed by the adult supervision. Such conservatism was anathema at Zondrae’s and both Oliver’s, owned and managed by local surfer Brian Neville, catered for a slightly older crowd than the bands and their fans loved her for it. The Coffin Cheaters perform at Pioneer Hall in February 1967. Zondrae’s. Initially located upstairs at Kawarra (L-R) John Crasnich, Rainer Norbett, Arnie Olbrich, Henry Despite Zondrae’s success with the kids, the young Chambers (130 Crown Street), Neville relocated the Emerich). Photographer unknown (Arnie Olbrich collection). venue operator was regularly fighting with the venue to Flinders Street in late ’69. Neville The Marksmen perform at Pioneer Hall in 1965. authorities over concerns about noise, parking and continued to book top quality acts such as Sherbet, Photographer unknown (Neil Porter collection). safety. However it was an argument with her mother Tamam Shud and Chain. Like Zondrae, Neville battled that signalled the end of the venue. with the authorities when it came to parking and more than one show had to be cancelled at the last After Zondrae and her mother parted as business minute due to the local constabulary stepping in. In partners, management of Zondrae’s passed to George an attempt to break away from these problems, Rossall who changed the venue’s name to My Place. Neville conceived of Wollongong’s first rock festival. The venue closed for good in 1969. Cleverly titled Festival of Rock, Neville first proposed the festival to be held at Stuart Park, at Elsewhere, music was being played at various pubs, the time a popular camping ground. Councillors community centres, church halls, and just about any objected to the concept, claiming the event would be public space that had a power outlet. Corrimal ‘objectionable’ to campers in the area. Not to be Community Hall, Warrawong Community Hall, Pioneer The vacant lot next to Zondrae’s was beaten, Neville took his festival to Wollongong often just as popular as the venue Hall, and the Wollongong Town Hall, were amongst the itself, with groups of young people 10 hangin’ out. Photographer unknown 11 (Carol Bartlett collection). Four Sale pose with Zondrae King after a gig, c. 1967, (Roy Brown, John Nakken, Neville Harlow, Zondrae King). Photographer unknown (Anne Barton collection). The Marksmen in 1966, promo shoot for ‘But Why’ b/w ‘Moonshine’ single. Photography by Jens Madsen (Neil Porter collection).

The Fyrbyrds c. 1965. Photographer Grow Your Own c. 1969. Photographer unknown (Mick Chamberlain collection). unknown (Yvonne Blanch collection). The Method’s Laurie Hellyer. Photographer unknown (Zondrae King collection).

Showground on the Easter weekend of 1970. Due to The mid 60s also saw the creation of Hoadley’s multiple factors (adverse weather, technical problems, Battle of the Sounds: a national band competition and a competing event at the newly established sponsored by the popular confectionary company. Wonderland), the Festival experienced a less-than- Starting life as the National Battle of the Sounds satisfactory turn out. in 1965, Hoadley’s took over the following year, and for the next six years it was Australia’s major Wonderland, also known as Capitol Hall, was operated touring talent show. Various venues played host to by Zondrae together with her new husband Wayne. the Wollongong heats during its lifetime – most Financed by Sunshine Records owner and promoter Ivan notably Warrawong Community Hall and Capitol Hall Dayman, Wonderland was far bigger than Zondrae’s, – and whilst no Wollongong bands ever won the allowing for bigger visiting acts. Local regulars national battle, we did have bands in the finals in such as Earl’s Court, Tin Pan Alley, Rev. Black & the Tree perform on the back of a truck at South Beach in the mid 70s. ’67 (The Wanderers), ’68 (The Marksmen) and ’69 (Tin Photographer unknown (Arnie Olbrich collection). Rockin’ Vicars, and The Executives shared the stage Pan Alley); indicative of the fertile period with Johnny Farnham, Normie Rowe, Doug Parkinson, Wollongong was experiencing at this time. Easybeats and Masters Apprentices. Wonderland was also the site for one of the first major international acts to play Wollongong since Little Richard a decade earlier: The Beach Boys.

12 13 Trinity. Photographer unknown (Anne Barton collection). ‘Drum off’, live on WIN TV in 1970. (L-R) Gary Farley, Brett Cooper, Glenn Foulton. Photographer unknown (Brett Cooper collection). commercially; lengthy, jazz-influenced rock has never been good radio fodder. The closing of the 60s also saw the However, over forty years later the closure of Zondrae’s, Oliver’s and album is highly sought after by record Wonderland not long after. It was not collectors worldwide. only the end of a decade – it was the end of an era. The Summer of Love was now Meanwhile, something extraordinary was but a distant memory, and the acid trips happening out at The Charles Hotel in were beginning to wear off. The so-called Fairy Meadow. The Charles had developed children of the revolution found dead-end a dangerous reputation and was jobs, became young parents and/or were frequented by bikers, war vets, rockers conscripted into an unpopular war. The and other social outsiders, A favourite idealism of hippie culture had failed and Photo shoot at Mt Keira act at the Charles was a band for Whisper in 1977. the next generation felt disenfranchised (L-R) Wayne Gunner, featuring Chris and Gerry Jones but didn’t yet know what to do with this Brett Cooper, Keith Wallace, (unrelated, though the latter was the Graham Lysle, Les Arblaster. restlessness. Photographer unknown brother of successful jazz musician (Brett Cooper collection). Vince Jones) who had teamed up with Out of town promoters still used the Giles Vanderwerf and a young, American- community halls for larger, national acts born guitarist by the name of Deniz (AC/DC played at Corrimal in 1974, Tek. Like so many other bands, the Warrawong in 1975, and Wollongong Town Sun’s Gary Norwell in 1973. Photographer quartet underwent numerous name Hall in 1976), but most local bands were unknown (Gary Norwell collection). Following the demise of the King Biscuit changes before settling on TV Jones. TV forced into the beer barns where the Blues Band, various members relocated to Jones had an explosive stage publicans insisted on sets of Skynyrd and Sydney and met up with Renee Geyer. performance that threatened to set Creedence covers. Meanwhile, Hoadley’s held Together they formed Sun and recorded Promotional shot for Rocky & The Hurricanes. one album of psych-blues. This album Wollongong on fire. The band’s PA was its last ever battle of the bands in 1972 Photographer unknown (Bruce Greenfield collection). ‘1972’ is highly sought after by locally built by Jimbo Farrington who, as original acts became increasingly collectors, but has never been reissued. legend has it, would test his systems by difficult to find. inviting bands into his back yard and blasting the speakers across the empty But not even narrow minded publicans paddocks of Bellambi. The band later had authority to sign rock n’ roll’s setup camp at Caesar’s in downtown death certificate. Beneath this culture Wollongong where the drugs were harder of mediocrity, brief bursts of brilliance and the audiences more volatile. Having were leaving spot fires on the region’s obliterated local audiences from ’72 to landscape. ‘74, TV Jones tried their luck in the The King Biscuit Band, originally formed big smoke, only for Tek to be summarily in the mid 60s, had gone through various dismissed after a failed attempt to name, line-up and sound changes, and were record an album. Tek claims the reasons beginning to gain some momentum as a given were his lack of commercial psychedelic, progressive rock act, even aspiration – a reason he wears proudly gaining second place in the local to this day. Of course, this experience Hoadley’s heat in 1969. By 1970 though, the clearly did nothing to dampen Tek’s band had all but migrated to Sydney and East Coast Music, c. 1979, before simplifying desire to bring the rock he heard in Phred (post-Grow Your Own). underwent yet another name, sound and their name to East. (L-R) Ray Bruckmann, Paul his hometown of Michigan to Australian Coombs, Jed Holmes, Rikki Organ. Photographer Photographer unknown (Yvonne audiences. He soon teamed up with Rob line-up change. The newly formed Sun was unknown (Michael Fix collection). Blanch collection). steeped in psychedelic jazz and recruited Younger to form and a then unknown Renee Geyer on vocals. create Australian, and indeed international, history. Perhaps unsurprisingly the band’s one and Tree took advantage of the glam rock phase in the mid only album - ‘1972’ – was poorly received 70s. Photographer unknown (Arnie Olbrich collection).

14 15 The Everglades perform at The German Club (L-R) Rocky Panetta, Nick Mazzone, Mario (surname unknown), Tony Panetta, Michael Fix. Photographer unknown (Michael Fix collection). Liberty’s Jackie Crawford. Photographer unknown (Wayne Rogers collection). East (formerly East Coast Music) promo shot c. 1979. (L-R) Jed Holmes, Rainer (Ray) Bruckmann, Michael Fix, Don Costa, Paul Coombes, Rikki Organ. Photographer unknown (Michael Fix collection).

The Capital 4 in rehearsals in 1974. Photograph by Hans Fix (Michael Fix collection).

The 70s also saw the development of three very recordings for easier consumption. Nor would they different but equally influential labels and set foot into a studio. The concept was to promotional groups. Local promoter Peter Evans encourage people to experience the live shows released a handful of 45’s (Tarquin & Maison rather than paying for ‘fetish objects’ such as amongst them) under the name of Butterfly records. Promotions. Evans would eventually go on to focus on the live show promotion aspect of the 2-Tapes also recorded and released recordings by industry. Butterfly Promotions still exists, with Voight/465 and The Slugfuckers, and became cohorts Evans booking bands for many of the clubs across with The Sunday Painters before folding in 1983. the region. 2-Tapes releases are now prized possessions to the niche community of cassette collectors. 2-Tapes was formed in 1974 and may take the title of the region’s first record label, if it weren’t At the other end of the spectrum, in 1979 the for its cassette-only stance. Formed by Tim Van Illawarra Folk Club was formed to help promote A rare photo of an early line-up for The Proton Energy Pills. den Berg, the label was named for the process of local folk gigs and to foster a sense of (L-R) Stew Cunningham, Jay Curley, Lenny Curley, Richie Lewis, taking a ‘master’ tape and copying it for community amongst those with an interest in Terry Callan. Photographer unknown (Ben Curley collection). dissemination. 2-Tapes was initially the vehicle to keeping traditional forms of music alive. Over time distribute the live recordings of Van den Berg’s The Folk Club name would became synonymous with band, The N-Let’s. Highly experimental, the N-Let’s the national folk scene, developing the now famous drew from free jazz, early industrial, and equally Illawarra Folk Festival from very humble roots. early art-punk, and refused to edit their

16 17 Casualty/A Family in rehearsals. Photographer The famous Protons bus, with very young Ben and Mick Jazz Intersections played primarily in Sydney due unknown (Antonios Tziolas collection). The Stayns were one of Wollongong’s first ‘garage’ Curley posing. Ben and Mick would follow in their to the non acceptance of jazz/fusion amongst local bands and helped the scene gather momentum in the brothers’ footsteps and also go on to be in bands such as auidences, 1982. (L-R) Chris Bell, Mark Batley, mid 80s. This photo was taken behind the Ukranian Hy-Test, BRUCE!, Shotgun Wedding and Bulldoze All Bowlos. Michael Fix, Graham Lockwood. Photograph by Club in 1987. (L-R) Peter Komidar, Andrew Williams, Photography by David Curley (Ben Curley Collection). Micahel Fix (Michael Fix collection). Steve O’Brien, Gordon Johns. Photograph by Ben The Length. Photographer Roberts (Andrew Williams collection). unknown (Mark Chester Groovy Train (from bottom) Amanda Lynn, collection). Visitor perform at a party in 1981. Brian Kelly, Mick Reynolds. Mark Callaghan, Photographer unknown (Brad Rees collection). Sean Keeble. Photograph by Les Smith, Illawarra Mercury (Mark Callaghan collection).

The Sunday Painters. Peter Raengel of The Sunday Painters, Peter Sheen at Keira Lane Recording (L-R) Peter Raengel, Nik Nok Nar c. 1981. (L-R) Shaun Pyrah, Photographer unknown (Michael Train collection). Peter Mac, Dennis Kennedy. Studios in 1980. Photographer Brad Rees, Paul Hausmeister, Peter Eklund. Svegie’s Vegies perform at a The Start. Photographer unknown unknown (Brett Cooper collection). Photographer unknown Photographer unknown (Brad Rees collection). WIN TV telethon. Photographer (Mark Chester collection). (Michael Train collection). unknown (Mark Chester collection).

Unsurprisingly, The Painters found favour amongst some In any other time or place, such disparate scenes Notwithstanding a few blips on the radar, the 70s were It’s this method The Sunday Painters applied when of Wollongong’s outcasts, such as Wollongong Out of wouldn’t ordinarily mix. However Wollongong - the a relatively dry period for live music in Wollongong; they first came together in the dying months of the Workers, Redback Graphix, 2-Tapes, and The N-Let’s. ever typical blue collar steel town - was small and many of our most talented musicians having fled the previous decade. Formed by school friends Peter Though never officially breaking up, The Sunday culturally conservative. Subsequently anyone with an region or succumbed to the pressure to mindlessly Raengel and Peter MacKinnon, and later joined by Painters ceased performing in 1992. Though to be fair, interest in art and music banded together for their stroll through yet another cover of ‘Freebird’. Dennis ‘Resident’ Kennedy, the Painters weren’t your live performances were few and far between prior to traditional band in any sense. Embracing offbeat own protection. This was the 80s where men were this date anyway. The surviving members - Raengel required to demonstrate their masculinity by However mediocrity can oft-times breed discontent, and conceptualism and DIY culture, the band also took an sadly passed away in 2008 - are currently piecing bubbling beneath the surface was a generation tired of anarchic approach to their existence, with an levelling homophobic jeers at any male who dared together a re-issue series as well as fresh releases of grow their hair long or any female who had the being force-fed conservative values by their educators, extended membership that included their financiers, demo material, rehearsal tapes and live performances. political leaders, and self proclaimed pop stars. The go-to artists, and occasional lyricists. The temerity to cut theirs short. natives, as they say, were getting restless, and Gen- collective self-released a smattering of limited run One step removed from this art-punk movement was the The Oxford provided a safe haven, as did Kennedy’s Xers were finding inspiration in the anarchism of tapes, 7”s and LPs over a five year period - all of burgeoning new wave scene with some of the more up at Piccadilly, and the Coke Ovens, an underground punk and new wave from across the waters. In 1980 which now fetch high prices on the collectors’ memorable acts being Visitor, Nik Nok Nar, Casualty, venue (both literally and metaphorically) situated on both The and The Cure played the Wollongong market - and each packaged in hand made covers Rezistors, and Man Bites Dog. Closely related, the mods Crown Street where the IMB stands today. The Leagues Club. A sleeping beast was being woken. with some unique characteristics. Take 81’s ‘Three started hanging out down at Studio One: a mirror-tiled Ironworkers opened their doors to the rabble a few Kinds of Escapism’ for example, which came with dance room in the Oxford where the DJ would play the years later and The Balkan Club also copped a To the squares, punk was little more than mindless three alternate covers; or 82’s cassette release, ‘Any many variations of punk to a crowd that were often punishing in the latter part of the decade. violence put to a soundtrack of noisy guitars and Port in a Storm’ which was smeared with Raengel’s underage. screaming vocals. In truth though, punk was, and blood. Sonically speaking, the band were what you’d The Wollongong Out-of-Workers Union (WOW) was always has been, about self empowerment. The DIY ethic expect from art students: a combination of free-form The mods helped bridge the gap between the new wave founded in response to rising youth unemployment in of punk is the antidote to the absurd pomposity of the noise, pre-technology tape-splicing, found-sound scene and the growing garage scene that was the region and applied an anarchic, punk approach mainstream music industry. This approach can be manipulation and jazz time signatures. developing over at The Ukranian Club on Auburn Street, to their political action. WOW’s first location was a applied to almost anything: music, art, fashion, and later at the front bar of the Coniston Hotel. The squat opposite the Department of Social Security, politics, and even business. Its mantra, predating Stayns and The Mutated Noddys arguably kickstarted with about 20 WOW members using the premises as an fashionable footwear, is simple: Do It Yourself. the local garage revival, with The Heathens, Mojo Hands office as well as their home. WOW members pooled and The Unheard shifting it into high gear. 18 19 Raw Power. Photographer unknown (Stew Cunningham collection). resources and lived and worked communally. From this deeply involved in Wollongong’s creative scene squat, WOW established a drop-in centre, soup kitchen, a throughout the 80s, with both of them playing music food co-op, and the Illawarra’s first welfare rights - they were both in Mojo Hands - and artists in service. This space was also used to foster creativity: their own right. Tom especially became a renowned the production of a monthly newsletter, community radio photographer, shooting countless bands over the programs, as well as rehearsal space for bands and Man Bites Dog recording sessions years in live and purpose built settings. theatre productions. The WOW membership grew in numbers at the Masonic Hall. Photographer unknown (Rob Laurie collection). The Dions owned the Masonic Hall on Smith Street - and soon the radical left-wing group were a force to be an unofficial artists’ residence in the mid-to-late reckoned with. 90s and frequented by creative miscreants. Bands Despite their outward appearances, the WOW punks had a such as The Unheard, Mojo Hands and Man Bites Dog positive image in the region. Says founding member Nick used the Hall as rehearsal and recording space and Southall, “To a large extent punk culture in WOW was a The Proton Energy Pills used the setting for their way of separating ourselves from the rest of society, first video. while having something other than unemployment in Pat Curley was the eldest of six Curley boys. common with each other. It was a way of demonstrating Growing up in Tarrawanna, Pat began getting into our rejection of common society in a very visual way.” music in his teenage years and passed his love of “WOW was constantly campaigning on a variety of issues,” rock down the line by giving his then-15 year old says Southall, “Often allying with other community brother Dave a Radio Birdman record. Dave and Pat organisations, trade unions and political parties around started the deliberately offensive Vic Vomit and the Inside the infamous Masonic Hall. (L-R) Rosalind Baker, Varicose Veins and a second family dynasty was born. shared concerns.” WOW helped establish the National Union Ali Jane Smith, Cassie McCullagh (on swing blurred), of Unemployed People, and drew up a list of demands, Joanna (?), Mel Wishart, Zoe Smith. Photograph by Lenny Anne Lowe (Rob Laurie collection). Dave later joined Mojo Hands, while brother Lenny which they took to the lawns of Parliament House. hooked up with Stewart Cunningham (guitar), Terry Many WOW members have gone on to achieve significant Callan (guitar), Richie Lewis (drums) and Michael success in the fields of art, politics, and academia, Foye (bass) to form The Proton Energy Pills in 1986. whilst retaining a close connection to the community This initial line-up featured Lenny on vocals, before that supported them. a reshuffle saw him replace Callan on guitar. The band then recruited Dave on vocals and younger Closely associated with WOW was Redback Graphix – a brother Jay joined on bass. The Protons were soon Wollongong-based art studio set up by Michael Callaghan making a noise in the big smoke, and the fledgling and Gregor Cullen in the early part of the decade. Waterfront label picked them up. Their live Redback grew out of the WOW squat as the pair designed reputation saw them earn some serious international Wollongong Out-of-Workers Union and produced political posters and slogans for their (WOW) took their list of demands to support slots (Buzzcocks, Rollins, PIL) before touring comrades. With WOW’s connection to the local punk scene the front lawn of Parliament House. Hard Grind ‘Mile Away’ single, featuring Arnie with Dinosaur Jr and Mudhoney. Dinosaur’s J. Mascis it wasn’t long before Redback were designing posters for Olbrich who now operates Kickstart Studios. offered to record the band’s second 7” and the world, the bands, often with a political bent. Redback’s output it seemed, lay at their feet. is recognised globally as art that fought the law, though it’s not clear who won. Callaghan and Cullen’s Before the decade closed, John Jenkins would open work was designed to fight oppression, to beat bigotry, the first Redback Music shop in the Crown Street and to dismantle the status quo. Mall. Originally located to the west of the Wesley Church, Redback Music, unlike other records shops in Anyone who has lived in Wollongong for a period of time the area, would stock punk, metal and rap for the would be familiar with the iconic Dion family. The local disenfranchised youth, most likely pissing family first owned and operated a market garden in parents off across the Illawarra. Jenkins, I’m sure, Fairy Meadow before turning their hand to public can be credited with corrupting Wollongong’s youth transport in the 1920s. Many people will remember the The Mutated Noddys’ Steve Mexico Large featuring the and helping to usher in a period of high musical Abrahall. Photographer unknown recently departed Peter Knox (aka elder Dion brothers for their generosity, good humour, (Stew Cunningham collection). Izzy Zarsoff). Photograph by Tom output in the decade that was about to hit. Mojo Hands, taken inside the Masonic Dion (Steve Robinson collection). and relaxed approach to timetable adherence throughout Hall. (Top-bottom) Michael ‘Wilbur’ the years. Two of the younger Dions, Tom and Ed, were Wilson, Dave Curley, Tom Dion, Gordon Johns, Ed Dion. Photograph by Marty 20 Doyle (Stew Cunningham collection). 21 FullTab rehearsals. Photographer unknown (Dave Achille collection).

Terry Callan of The The Gilded Kiln in 1998. Rainbow Monsters. Photographer unknown Photographer unknown (Damien Lane collection). (Dean Mastroianni collection).

The Merkins playing to a packed Dropping Honey house at the Wollongong Youth The Rainbow Monsters. Photographer Centre in 1994. Photographer unknown (Dean Mastroianni collection). unknown (Craig Hope collection).

format. Perhaps more importantly, Robbo spearheaded As the world was spiralling towards the end of a the Oxford Tavern’s shift towards becoming the live century, technology was at once our saviour and our music icon that we so fondly remember it to be. destroyer. While computers were beginning to make their way into our daily lives - hidden in our When Robbo first started booking the venue, he was household appliances and our cars - we began to fear warned away by those with good intentions. The this reliance on technology. Y2K, it was reported, Oxford in the 80s had become known as a rough would surely be the end of us all. It was anticipated place, with drugs coming straight from the boats at that as the clock ticked over to 12.01am on January 1, Port Kembla into the waiting arms of some of 2000, planes would fall from the sky, traffic systems Wollongong’s more colourful characters. Starting would collapse, and the world would quickly with the Blue Fish Cafe, Robbo would book offbeat disintegrate into a dystopian scene straight out of acts, many of which were more interested in the George Miller’s Mad Max. theatrical side of performance more so than the musical aspect. Under Robbo’s guidance, the venue At the beginning of the 90s however, we were would broaden its patronage across genders, with completely oblivious to this technological threat. Robbo ensuring that female acts were given equal And with good reason as it turned out. billing. ‘Freaks’ from all walks of life were welcomed at the Oxford: bikers, students, the Before joining Tumbleweed, Paul Hausmeister played in multiple bands including The Compact Disc was slowly tolling the bells for The Unheard and Nik Nok Nar. Photograph by Tom Dion (Tom Dion collection). unemployed, former inmates, political activists, vinyl records, and it wasn’t long before Steven ‘Robbo’ artists and musicians all congregated, creating a Robinson’s band A Comedy of Errors became the first minor social revolution. local band to release an album on this new-fangled

22 23 Dave Curley of Zambian Goat Herders. Photograph by Michelle Dilevski (Michelle The Proton’s dream (discussed last chapter) came to an Dilevski collection). It was still the early 90s. The beer barn rock of the 70s abrupt end at the turn of the decade with the band was dead, and a backlash to the keytar pop of the 80s calling it quits part-way through recording their was in full swing. On Australian soil bands such as The first album. Vocalist Dave Curley turned his attention Hard-Ons, The Meanies, and Cosmic Psychos, were laying on his career in youth work, landing a job with audiences to waste. On the local front, The Protons had Wollongong Youth Services. Prior to its current taken the scene to another level, but it was Tumbleweed location (incidentally the former Wollongong Art who would enter the stratosphere. The previous connection Gallery) Youth Services operated from wherever they to J. Mascis and the Mudhoney crew proved invaluable as could, including the South Beach Surf Club. It was The Culprits. Illawarra Mercury (courtesy Glen Humphries). the band was invited to tour with the then little known here that Curley started a youth music program by Seattle three piece, Nirvana. Between signing up for the encouraging young people to use the space for tour and Kurt and co. arriving on our shores, Nirvana’s rehearsal. This program, with some funding help from second album had achieved unexpected and unprecedented Council and Health Services, produced a split 7” with success, toppling the King of Pop, Michael Jackson, from Eat My Chainsaw and Social Outcasts, promoting a the #1 spot. To their credit, Tumbleweed deserved that harm minimisation message as part of the NSW Health’s tour, and punters still recall the Melbourne show where Drug Offensive program. the Weed arguably blew the headliners off stage. Suddenly, Tumbleweed were hometown heroes. Upon moving into their current premises, Curley ramped up the music program ensuring rehearsal, Inspired by this success, and buoyed by the support recording and performance space was available for coming from the Youthie, bands started popping up all young bands. A live music committee made up of young over the place. Some only got together for a rehearsal people was established, and the bands, together with Dawn Patrol, later became Shifter, who were forced to before calling it quits, whereas others stayed on and the committee, would promote their own shows and change their name to Riffter, then morphed into The Dead became an integral part of the 90s ‘grunge’ scene. The support each other as they learned the tools of the Set, before going back to Shifter. The band still play on Al from Social Merkins, Evol, Nodscene, Mudlungs. Dinky Crash, Slobplant, trade. The value of this program cannot be rare occasions, with most members being busy with other Outcasts. FUgG, Dettol, Naiad, Shifter, Fulltab, Thumlock, Nabilone, understated. Skills gained in the production and musical projects including The Pink Fits, The Photograph by and The Escarpment. (L-R) Dave Kettley, Jamie Cleaves, Michelle Dilevski and about a bazillion other bands all supported each promotion of music is transferable into more Steve Krkovski, Karl Weber. Photographer unknown (Michelle Dilevski other on stage or in the audience as the scene took off. mainstream careers. Many of the young people involved (Karl Weber collection). collection). in the program have gone on to do amazing things in And though the success of Tumbleweed encouraged others the local and broader communities. Some have gone to follow in their big-muffed footprints, other genres into social work themselves. Others are successful were also able to generate strong local followings. business people, have rewarding careers in their Eezee, a hair metal band a few years too late, eventually chosen fields, became deeply involved in political morphed into the harder hitting Segression who nabbed action, or became synonymous with the local scene supports alongside metal heavyweights such as Fear either as performers, promoters or organisers. Factory and Sepultura and built up a massive national Much like Zondrae in the 60s, Dave Curley’s legacy following. Infusion were on the opposite side of the is an important one culturally, but also holistically plectrum, creating a buzz in the dance/electronica scenes. as his work gave young people a sense of self, Meanwhile, Machine Translations - the recording name for allowing them to move into adulthood as more rounded, J. Walker of P. Harness - began releasing material from productive citizens. his new home in the northern suburbs of the Illawarra, garnering a dedicated international lo-fi following. Meanwhile Dave’s brothers had persevered with their musical careers by forming a new band they Old-school punk was also thriving with the likes of TBK, christened Tumbleweed. Initially Dave held the role of Evol were early winners of Triple A Comedy of Errors were so-named Frontside, and Rukus putting on DIY all-ages shows vocalist, but soon moved on to sing in the Zambian J’s ‘Unearthed’ competition. (L-R) due to the band’s inability to wherever there was a stage - and in some cases even Flavia, Laurie, Mel, Binx, 1997. play the same song the same way Goat Herders. After a few false starts, Lewis moved Photograph by Tom Dion twice. Photograph by Tom Dion where there wasn’t. (Steven Robinson collection). from behind the drumkit and the new band recruited (Mel Blanch collection). Laurie & Flav from Evol in 1998. Paul Hausmeister and Steve O’Brien from The Unheard Photograph by Amanda Rodrick on guitar and drums respectively. Then shit got real. (Mel Blanch collection).

24 25 The Rum Junkies Pan’s Daughter, featuring FUgG’s Ronnie van Dyk sits outside The Oxford. the old Oxford backdrop. outside The Oxford with Judy from Pan’s Daughter. Former N-Let, and sound Katherine Keys, c. 1996. engineer Tim van den Berg at Slobplant. The Oxford’s mixing desk. Erika’s Jive performs at Steve Robinson’s ‘Porter Street Tapes’ launch.

The legendary Mudlungs.

Paul Hausmeister tunes up before a Tumbleweed set.

Crosstown Traffic.

Classic shot of local Merry Widows. heroes, Tumbleweed.

The much missed Space Bunny, Entity. circa 1993. (L-R) Kylie Hilali, Jo Leaver, Johnny Orlandi, Dave Morrisey (squatting).

Rather Raw Knots.

Tom Dion. (Photographer unknown). All images on these two pages by Tom Dion, courtesy of either Tom Dion or Steven Robinson.

Alloy Forces (L-R) Peter Shortis, Yanto Shortis Dinky Crash. The Unheard. and Morgan Lewis. 26 27 95-Nasty pose at the harbour in 1992. (L-R) Danny Demos, John Byrnes, Lloyd Sefton, Bill Byrnes, Bruno Loviscek. Photographer unknown (Bill Byrne collection).

At the tail end of 1995, Kim Waters also established the Tumbleweed dismissed Independent Music Monthly in late Hausmeister, then, in a sign of 1993. A locally produced monthly solidarity, O’Brien followed. street press, IMM went through a More disruption occurred in few life changes, including a name ’99 when Jay was also replaced change right before its demise in and the band, to many, had 1996. become a mere shadow of their former selves. O’Brien and Bulb, established by David Kettle Hausmeister formed The and Michelle Bateman, closely Monstrous Blues whilst Jay followed. Bulb soon turned into Curley rejoined Stewart Pulse of the Illawarra. Unlike the Cunningham in Brother Brick. IMM however, which was DIY and Pat Lyons lets loose music focused, Pulse needed to turn Complementing the Youth Centre, in The Surprise Arm. Photograph by Tom a profit through advertising. This the deliberately misspelt Sean Stinson of Dion (Steven Robinson forced Pulse to compromise on its The Sneaky Butchers. collection). Sunami took up residence in Photography by featured content and the paper soon the old Ironworkers building. Tom Dion (Steven became little more than a lifestyle The venue was unlicensed and Robinson collection). publication. The paper folded therefore suitable for all-ages without fanfare in the late 90s gigs. Run by Kim Waters, the As well as being an accomplished and, aside from a few half-hearted venue worked closely with the musician Steve Robinson steered Dave Curley, the second eldest of six attempts, there has been no Youth Centre firstly to The Oxford into the venue most Curley brothers, fronted Vic Vomit & readers would remember it for: concerted effort to revive the minimise gig clashes, but more The Varicose Veins, The Mudfrogs, The a safe and open space for dying art of street press on a Proton Energy Pills, the first free-thinkers and Wollongong’s importantly to enable the Tumbleweed line-up, Zambian Goat local level. Youthie to feed support acts to outsider community. Photograph Herders and more. Dave was also by Tom Dion (Steven Robinson the larger venue. Sunami was pivotal in the establishment of a collection). Watching the flurry of musical youth music program at the primarily used for local shows, Pounderhound in 1997. Wollongong Youth Centre and can be creativity, Jeb Taylor, a young with a few national acts Photography by Jason Hart credited with mentoring many young school-leaver from the very dropping in on their way (Tim Ireland collection). musicians who came through the ranks northern end of Illawarra, started in the 90s. Photographer unknown. between Sydney and Melbourne. his own bedroom-based distro and On rare occasions international zine focusing on the global stoner guests would grace the purpose rock scene. Jeb Taylor soon built stage, most notably branched out and released pop-punkers Blink-182. Thumlock’s second EP, Lunar Disused and scheduled for Mountain Sunrise, under the High redevelopment, the building Beam Music label. Encouraged by the suffered some minor damage at positive response for the EP, Taylor the hands of Sunami patrons expanded High Beam further and when, during the last gig, the released a string of predominantly, Belinda Deane of The but not exclusively, local releases building owners switched off Pete Conran at The Oxford’s Unheard. Photograph the power mid-set. mixing desk. Photograph by Tom by Tom Dion (Steven into the new millennium. Dion (Steven Robinson collection). Robinson collection). Known for their love of film, Whose Muddy Shoes perform at Dettol replaced vocals with movie The Oxford. Photograph by Tom samples. Photograph by Jason Dion (Steven Robinson collection). Hart (Matt Houston collection).

28 29 Ronny van Dyk of FUgG Dreamgirl the Motorist perform rehearses at Kickstart Studios. at Faces on Crown in 2001. Photograph by Florencia Chen Photograph by Karena Hoyer (Florencia Chen collection). (Carolyn Nowaczyk collection).

Babymachine, banned from playing the Uni Bar, played one more show protesting over the silencing of women. Photo by Carolyn Nowaczyk (Carolyn Nowaczyk collection).

Inside the hallowed Oxford. Photograph by Carolyn Nowaczyk (Carolyn Nowaczyk collection). A rather young Hy-Test. Photograph by Florencia Chen (Florencia Chen collection).

surely The Oxford became the only regular venue in In many ways the new millennium was the enemy of live town. Not a great room by any stretch of the music. On the one hand communication had improved imagination, the value of the Oxford laid just as through the use of email, the internet and mobile much in what was happening in the audience as what phones, allowing bands, promoters, bookers, and the like was happening on the stage. With nowhere else to to set up shows easily. But on the other hand venues meet, outsiders converged on The Oxford regardless were replacing live entertainment with poker machines, of who was playing. people were paying for their TV, recorded music in a physical format was on its last legs, and game consoles This concentration of the scene would ultimately were hard-wiring our kids to a high definition have a direct impact on the quality of music coming widescreen. Previously, there was little reason for from the area with bands no longer needing to young people to stay home on a Friday or Saturday compete for crowds as The Oxford provided a

night. Now there was no reason for them to go out captured audience. at all. That’s not to say Wollongong didn’t have any quality The North Gong, a once great venue in the 90s, had bands in the 2000s - Hy-Test, The Dodgy World, begun its journey to gentrification, while a changing Dropping Honey, Bracode as well as the post- of the guard at the Youthie saw a shift away from Tumbleweed acts (the band had disintegrated by 2000) music programs. Sunami had long gone and the Uni Bar, The Monstrous Blues, Richie & The Creeps, and Theatrical rockers Bracode led the charge in feminist rock in the 90s. though great for mid-sized touring acts, limited their The band released two albums, won the UOW band comp, spearheaded the The Pink Fits - all delivered the goods in terms Girls Get Loud workshops and championed up-and-coming females in the scene. support of local talent to band comps. Slowly but of live performances and recorded output. Photograph by Penelope Benton (Jacqui Besgrove collection).

30 31 But there is strength in numbers. By reducing the scene to just one venue, the music community Much like the 70s, musicians not content with became vulnerable. For when the Oxford would what Wollongong had to offer started looking close, as inevitably it would, the scene would elsewhere to make their mark. Brother/sister struggle to find new life. rock duo BugGirl and alt.rockers Porcelain both relocated to the US while Infusion, Adam The Oxford Hotel was originally built in 1839 Buckland, Machine Translations and a great and was known as the Elliotts’ Family Hotel. A many others setup camp in Melbourne. third storey was added in 1893 and the building was renamed the Royal Hotel. 20 years later, the High Beam Music was still operational and third storey was removed and the building was releasing albums by Thumlock, FUgG, Shifter, rechristened The Oxford Hotel. In the 1930s the Hee Haw, Rockafella, Traces of Nut and so old verandas were removed and the building was forth, but as music sales dwindled, Taylor was given an art deco make over. In 1951 the hotel’s forced to look at alternative business models. publican Lucy Barrows was found dead in her Music Farmers started out as a distribution room, having been brutally beaten. Later that company and a shopfront was opened in same year three men were found guilty of Central Chambers to help support it. As music Barrows’ murder and sentenced to death. Hidden sales petered out even further Music Farmers behind the small stage that most readers would relocated to 5 Crown Lane as office space be familiar with was an elaborately ornate Richie & The Creeps. (L-R) Lax Charisma, Nate only. In a shrewd business move, Music Farmers staircase leading to the top floor. Over the Clark, Richie Lewis, Sharon Lewis. Photograph took advantage of the vinyl revival and years some residents reported seeing Barrows’ by Karena Hoyer (Sharon Lewis collection). opened their doors to the public again, spirit on the staircase. It is believed that the positioning themselves as a specialist record last resident of the Hotel was artist Tim Cattell Lenny Curley’s post Tumbleweed band, The Pink Fits. store. With no direct competition Music who vacated in the mid 90s. Despite being a much Photograph by Florencia Chen (Florencia Chen collection). Farmers continued to grow, reconfiguring loved live music venue for the final 30 years of their space to allow for art exhibitions, live its life, the reality is that the hotel housed 150 performances, and leasing out floorspace to years worth of memories and ghosts before artists and small, like-minded businesses. anyone loaded their band gear in. In 2000 Mt Kembla residents Marty & Jenny What Wollongong experienced in the 90s was not Doyle hosted the first Kemblastock. The venue: unprecedented, as the 60s can attest to. But a the back of truck in a field. Kemblastock was scene does not thrive unless it is nurtured. As originally conceived as a way to raise funds punk was sold off and repackaged in a format for bush regeneration in the area. The event palatable for commercial radio, the art of DIY was too popular for its own good, with was lost. Gone were the street press and zines. Council shutting the event down after eight Gone too were the gig posters after Council years due to the lack of a traffic management implemented an official crackdown. With the plan, security and insurance. spread of a national youth radio network and the commercialisation of ‘alternative rock’ young In 2009 the classic Tumbleweed line-up kids picking up guitars looked immediately to reformed and performed an amazing set at the stars. Bands started to promote themselves Waves joined by Kyuss’ Nick Oliveri. through online platforms hoping for global Ohana. Photograph by Florencia Then in 2010 the inevitable happened: the last attention, but in doing so often overlooked the Chen (Florencia Chen collection). Huge in Europe, Infusion’s gig at The Oxford was played. scene in their own backyard. brand of dance was never going to go down well in a city of fuzz pedals and grunge. Photographer unkown (Manuel Sharrad collection). 32 33 Catman (aka Adam Rogan). Ye Luddites tripping out at The Vault (Adam Rogan collection). in Port Kembla in 2012. Photograph by Nina Kourea (Edie Watt collection). The Escarpment. (L-R) Grant Oyston, Jamie Cleaves, Karl Weber, Adam Rogan. Photograph by Aaron Hughes (Adam Rogan collection).

Dropping Honey perform live at The Metro in 2011. Photograph by Karena Hoyer (Damien Lane collection).

Proudly yob-rock, The Vee Bees are part Wollongong, part Canberra. They have played at every yobbo bar Hy-Test’s Mick Curley and Luke imaginable including The Summernats and were recently Armstrong at the Uni Bar in 2007. featured in one of those men’s magazines that you buy Photograph by Andrew Tenison for the...(ahem)...articles. (Glen Beadman collection). (Andrew Tenison collection).

But just as The Oxford was closing, a new ‘small While The Oxford served its last drinks in mid 2010, the bar’ trend was beginning to emerge with Yours & venue had died long before. Belmorgan Property Owls the clear local leader. Situated across the Development purchased the site in 2007 and immediately set road from the Town Hall on Kembla Street, Yours & about undoing all the fine work that had gone into Owls started life as a cafe/gallery reminiscent of creating the heart of the local music scene. Belmorgan the small cafes found in the hip suburbs of introduced cover charges and engaged the services of a Melbourne. The cafe got itself a liquor licence and Sydney booking agent who sometimes cancelled bands and started to invite bands in to play. The small venue replaced them with pole dancers. Such a change - current capacity of 80 - took on a life of its demonstrated the new owners clear lack of appreciation of own and before long the cafe side of the business the venue’s usual clientele. Or perhaps their intention was was relegated to the backseat. In 2013, after very to drive the ‘freaks’ away. Belmorgan had grand plans to public stoushes with their landlord and Council, redevelop the site and join it to an adjacent site on the Yours & Owls sold up and Rad moved in. Operated opposite side of Corrimal Street. In 2008 Belmorgan went by Daniel Radburn, Rad has taken the baton and into administration. PSR Crown Investments bought the site continued operating as a small live venue with and in 2014 the old building was demolished to make way bands performing 3-4 nights a week. for a $38 million development that will include a Kaleidoscope are part of a younger generation carrying combination of residential, retail and commercial space. Ben Tillman from Yours & Owls continues to book the big muff torch. Photography by Jodie Downie. the venue and works with Taylor under the banner Jeb Taylor – who as well as managing Music Farmers had of The Farmer & The Owl to bring hip festivals to booked The Oxford in the 2000s – teamed up with business the region using a number of locations across partner Nick Irwin and began putting shows on at The town. Both Tillman and Taylor sit on the newly Patch in Fairy Meadow. Whilst initially successful, the established Live Music Taskforce: an advisory board venue suffered from ongoing noise complaints, and Taylor to the Council advocating for the development of a and Irwin were forced to withdraw their support of the live music strategy for the region. venue a few short years later. 34 35 Steel City Sound limited edition split 7” series Mastered by Ben Davies @ Silver Sound Studios, Wollongong. Released in partnership with Wollongong Art Gallery and Music Farmers

Babymachine play their feminist brand of Motorhead at The Hi Fi Bar. Photograph by Kristoffer Paulsen. Chuparosa. Topnovil. Photograph by Ian Laidlaw

Art by Rebecca Mayhew

The Heapsgoods. Wollongong’s newest party Money Killed Johnny. band, featuring some of the oldest rockers Feik’s Device. still around. Photography by Keziah Sugarat.

Meanwhile the annual HOPE Festival – a suicide prevention fundraiser in memory of Belinda Deane from The Unheard – and Hy-Fest continue to grow As we reach into the second half of the decade in band and crowd numbers. Both festivals have we see a scene that, while struggling to find experimented with different venues with varying spaces to make a noise, is no less vibrant and results. creative. Bands such as Babymachine, BRUCE!, In August 2014, as this book was being compiled, Kaleidoscope, The Walking Who, Totally Unicorn, Hockey Dad, The Escarpment, Swinging Beef & word came through that Tumbleweed’s Jay Curley had Art by Nate Clark. Title design by Brade Wheeler passed away suddenly in his home. The news rocked The Daptoids, The Heapsgoods, Lint, The Dark all corners of the local music community. Clouds, Leadfinger, Crash Tragic, The Acid Tumbleweed represented what could be achieved from Monkeys, Topnovil, Lower Coast Skies, Chainsaw Wollongong. Tumbleweed were at their best when they Mascara, Hollow Gods, The Nice Folk, Feik’s worked at their most harmonious, and the loss of Device, Mother & Son, Dlinkwint, Born Lion, Jay signalled the end of an era. The band agreed to Massonics, Ye Luddites, Shining Bird, Hoon and a honour their prior commitments with friends and plethora of others are helping to keep this family filling in for Jay, but the future of the scene alive despite the odds. It’s this scene band was uncertain at the time of printing. that Steel City Sound celebrates and seeks to preserve through this book and the exhibition, Jay’s passing also brought out the best of the and through the memories and discussions it music community as people came together to support generates. one another in shared grief. This is reflective of a tight-knit community; standing together as one, especially throughout the dark times. Art by Lenny Curley

36 Wollongong Art Gallery is a service of Wollongong City Council and receives Corner Kembla & Burelli assistance from the NSW Government through Trade & Investment Arts NSW. streets Wollongong Wollongong Art Gallery is a member of Regional and Public Galleries of NSW. phone 02 4227 8500 www.wollongongartgallery.com www.facebook.com/ wollongongartgallery

Wollongong Art Gallery gratefully 1380623.10.14

open Tues-Fri 10am-5pm acknowledges the contribution of Oxford on WCC weekends 12-4pm Crown and Dicey Riley’s to this exhibition ©