Antipodean Beat

Band Members:-

Rick Dalton – bass (1966)
Doug Ford – lead guitar (April 1966-68)
Andy James (Andy Anderson) – vocals, percussion, guitar (Apr 1966-Jan 67)
Ian Robinson – drums 1966-67
Jamie Byrne – bass (late 1966-Mar 67)
John Phillips – bass (1967)
Doug Lavery – drums (1967)
Mick Elliot – drums (1967)
Peter Newing – vocals (1967)
Denny Burgess – bass, vocals (1966)
Ian Ferguson – bass (1967)

The original RJSS lineup in 1966

Courtesy of the Milesago website which I submitted to about six or seven years ago.

History

Almost as soon as Sydney’s fabled Missing Links were finished, around August 1966, guitarist Doug Ford and singer Andy James decided to try their luck in Melbourne, where they formed the Running Jumping Standing Still. The original lineup, which evidently lasted only a couple of months, was completed by bassist Rick Dalton (ex-Pink Finks) and drummer Ian Robinson.

Initially described as ‘the New Missing Links,’ Running Jumping Standing Still was indeed an extension of what Doug and Andy had been doing in their previous band, with Andy proclaiming that “We are all sincere in our addiction to feedback”.

RJSS went through several lineups in its short History, although the exact order of events is still uncertain. But RJSS was never destined to be a long-lasting band — the famously fractious relationship between Doug and Andy, which dated back to their Missing Links days, made it almost certain that the group would split eventually — although the actual cause of Andy’s departure was quite unexpected.

As the photo (above) of the second RJSS lineup indicates, Rick Dalton had left by October ’66. He was replaced by Jamie Byrne (ex-Black Pearls); they also added Dennis (Denny) Burgess (ex The Throb) (presumably on rhythm guitar) at this time. This second lineup lasted until around the time of Andy’s enforced departure sometime in 1967.

A ‘live’ version of ‘Diddy Wah Diddy’ included on the LP Diggin’ Through The Bins by the Missing Links was recorded and performed on ATV-0′s The Go!! Show, perusmably for their October 24 appearance. The song was introduced by host, Johnny Young, who quaintly described them as “a most unusual group”.

Another rare glimpse of RJSS from this time can be found in Peter L. Lamb’s 30-minute film documentary Approximately Panther, made in late 1966. It features a few brief shots of RJSS doing their thing at the Thumpin’ Tum disco, although sadly there is no original sound; the soundtrack is a studio-recorded instrumental, played by the 18th Century Quartet.

Andy’s departure from the group was sudden and dramatic. In late 1966 — probably December — Andy suffered an agonising brain haemorrhage during an RJSS performance at the Thumpin’ Tum disco. Doug Ford recalls: “Nothing would stop that guy, he was like a locomotive burning down the tracks. But this night something stopped him.”

Andy: “We were playing the Thumpin’ Tum and we were pushing it. I was getting these headaches and was singing River Deep, Mountain High and ended up getting a haemorrhage and collapsing on stage with this blinding headache. I was in hospital for a month and that was the end of that.”

Andy was treated in hospital, and received many letters and cards from fans while he was recuperating; he later published a small ad in Go-Set to thank all his well-wishers. He was advised by his doctor to slow down and give up rock and roll, but Andy would have none of this and soon formed a new band called the Andy James Asylum.

With Andy gone, RJSS recruited a new frontman, Peter Newing of The Pleazers. Newing sang on the two RJSS singles released on the Sunshine label. The first was “Diddy Wah Diddy” / “My Girl” in March 1967 but this version was markedly inferior to the recording made for The Go!! Show. A follow up and sadly final single “She’s Good To Me” / “Little Girl” was released in August. By this time Byrne and Robinson had both left; they were replaced by John Philips and Doug Lavery, respectively. Sources also list Ian Ferguson (bass) and Mick Elliott (drums) as RJSS members during 1967, but no other details of their tenure are known at present. One rare video recording from this period has recently surfaced on the YouTube website, featuring Billy Thorpe performing on an unnamed TV show (possibly on the ABC) backed by several members of RJSS.

Speaking of the final days of the band, Doug commented: “We tried to keep up the same wild stage act, but it was completely insipid compared to when Andy was there.” At the start of 1968 Doug (who wasn’t making much money) was approached by Jim Keays and offered a job with the Masters Apprentices; he agreed to join as soon as his commitments with RJSS were ended, and he officially joined the Masters in February 1968, thus bringing RJSS to an end.

A contemporary newpaper clipping featuring a rare shot of the second lineup of the group, published in “Listener In” on 22 October 1966. (L-R) Jamie Byrne, Doug Ford, Andy James, Ian Robinson & Denny Burgess(?)

After Running Jumping Standing Still …

- Jamie Byrne went on to play for other groups such as The Groove and its shortlived successor, Eureka Stockade.

- Doug Lavery went to Doug Parkinson in Focus, The Valentines and Axiom.

- Andy James formed two shortlived bands in Melbourne, Andy James Asylum, followed by Mother Superior, before moving back to Sydney where he joined . In 1970 he joined the cast of the Australian production of Hair for a short time. This was followed by an 18-month stint with Sydney club band Southern Comfort with Bobbi Marchini. His experience in Hair led him out of music and into acting full-time. He has since became a prominent and popular stage and TV actor, starring in such shows as ‘The Sullivans’, ‘The Bob Morrison Show’, ‘Phoenix’ and ‘Fire’. Since the ’70s Andy has worked under his original surname, Anderson. Andy recently released his first solo album, the witty titled If I’d Known I’d Live This Long (I’d Have Taken Better Care Of Myself) and also has his own website at www.andyanderson.com.au

Doug Ford and Ian Ferguson have recently renewed their friendship after more than thirty years. This led to the decision to perform together as an acoustic duo under the name Ford & Ferg. Doug Ford recently contacted Andy Anderson by phone and they spoke for the first time in over 30 years.

Many thanks to Peter Markmann for whom most of the research material for this article that could not have been done. More research was obtained from the website bordelinebooks.com and the Who’s Who of Australian Rock.

Discography

1966 (A)
“Diddy Wah Diddy” (live) (Corduroy Records CORD100) vinyl only
studio track, pre-recorded for an appearance on The Go!!Show in October 1966
Released ca. 2002 on the LP Diggin’ Thru The Bins – The Missing Links

March 1967 (B,C)
“Diddy Wah Diddy” / “My Girl” (Sunshine QK-1717)

August 1967 (D,E)
“She’s Good To Me” / “Little Girl” (Sunshine QK-1819)

References / Links

Peter Markmann & Ben Whitten
liner notes to Diggin’ Thru The Bins – The Missing Links (Corduroy Records)

Andrew Schmidt
Andy James – The Missing Link
Ugly Things website
http://www.ugly-things.com/missing.html

Chris Spencer, Zbig Nowara & Paul McHenry
Who’s Who of Australian Rock (Five Mile Press, 2002)

Vernon Joyson
Dreams, Fantasies & Nightmares: Australia (Borderline Books, 1999)

Corduroy Records
http://www.corduroy.com.au/mailorder.htm

Andy Anderson website
http://www.andyanderson.com.au

Band Members:-

Ann Heath – Vocals (?1964-1966)
Russell Hogan – Guitar
Geoff James – Guitar
David Johnson – Bass Guitar
Malcolm Kent – Drums
Don Charlton – Guitar
Steve Gibbons – Bass Guitar (1966-67)
John Haythorne – Vocals
Gary Kent – Guitar

Record Releases:-

Muggsie/My Home Town (The Scene In Country Victoria LP (Pacific K7 K7LP-001) ??-66

This band recorded for the Regional Victoria LP on the Pacific label. ‘The Scene In Country Victoria LP has been released as a CD and the M.I.5 tracks are on the It’s A Kave In CD.

This line-up actually hailed from Bendigo in Victoria.

Band Members:-

Dave Flett (?1965-66)
Peter Starkie (?1965-66)
Joe Camilleri (?1965-66)

Record Releases:-

None to my knowledge, the band however played most of the stuff from the radio, The Beatles, The Rolling Stones, and obscure bands of the time such as Captain Beefheart & Thane Russal & Three.

Band Members:-

John McDonald – Rhythm Guitar (1963-late 1965)
Barry McInnes – Drums (1963-late 1966)
Errol Holland – Organ & Saxophone (1963-late 1966)
Derek Hale – Bass (1963-late 1966)
Bill Baxter – Lead Guitar (1963-late 1966)
Ferdy Van Der Riet – Vocals (1964-?June 1966)
Colin Vincent – Rhythm Guitar (late 1965-late 1966)

Record Releases:-

Sixteen Tons/Well, All Right (Leedon LK-1252) 02-66
The Record (Baby I Love You)/You Don’t Love Me (Leedon LK-1316) 04-66

This article appeared on pages 34 and 35 of the The Livin’ End #1, September 1983. Article was written & published by Dean Mittelhauser.

The Sonomatics were formed in 1963, as an instrumental group, in Horsham, Victoria. Their lineup at the time was John McDonal (r. gtr) Barry McInnes (drums) Errol Holland (organ, sax) Derek Hale (b. gtr) and Bill Baxter (l. gtr).

They were, as so many hundreds of bands worldwide were, influenced by the Shadows…! When the Fab Four hit, things changed. They conscripted Ferdy Van Der Riet, then a fairly successful (local) solo artist to handle their vocal chores. With the change of style they became one of the the region’s most popular bands.

Early in 1965 they entered and won a TV talent contest being conducted by the local TV station, BTV6. In the process they beat 80 other participants, and for thier troubles won a stereo. Not really the best sort of prize for six guys to share!

Ferdy, their vocalists says “It was around this time that we were approached by a local guy (I was later to find out he was an ex-insurance salesman!) who gaves us the old line “OK fellas, I’m gonna make you into stars”. Yeah, he was the man with the big cigar. I think he saw himself as another Brian Epstein.”

Their newly found manager, lurking under the unlikely name of K.Barrymore-Roberts, poked around in Melbourne and late in ’65, after scroing a contract with FESTIVAL records, they journeyed to Melbourne. McDonald left at this stage, not willing to make the move to “the big smoke”, and was replaced by Colin Vincent.

Once in Melbourne they picked up quite a bit of live work and even become semi-regulars on KOMMOTION. Through contacts with Dunn Lunn on 3UZ, their first single ‘Sixteen Tons’ released in February ’66, got reasonable airplay and dented the Melbourne charts.

Go Set magazine, in reveiwing the 45 said “The group shows great potential and class but their choice of song is unfortunate”.

Ferdy: “Back then the trend was to do covers. Look at Normie Rowe! Every single he released was a cover. We had over thirty original songs that we could’ve done but we decided to go with ‘Sixteen Tons’.”

On stage the band were known for their versatility and diversity. From the obvious Beatles/Stones covers they also covered gear by the Kinks/Searchers and Animals, as well as obscure, the unknown artists (at least in Australia), such as Roy Head & The Traits. Live, they were very popular, particularly at the now legendary ODD MOD and THUMPIN’ TUM discotheques.

In April 1966 they released their second single, ‘The Record (Baby I Love You)’, a much tighter 45 than the first, with an overall “tougher” sound. Even so it promptly bombed and the next couple of months were a period of uncertainty for the band, not helped by K.Barrymore’s continual suggestions that Ferdy quit the band and go solo. Eventually he did leave, a venture which proved disastrous for both the band and him.

The rest of the band floundered on with both Bill and Colin alternating on vocals, but any direction they might’ve had was gone, and late in 1966 they folded.

Ferdy’s solo career followed pretty much the same path. He did do, a few gigs with a backing band but nothing came of them.

Contrary to popular (?) belief the band were always known as The Sonomatics, although the first single originally came out labelled as Ferdy & the Sonomatics, before subsequently being withdrawn and changed back to The Sonomatics.

Band Members:-

Mick Hamilton – Rhythm Guitar (?late 1964-Oct 66)
John Livi – Lead Guitar (?late 1964-Dec 66)
Peter Noss – Bass Guitar (?late 1964-66)
Kevin Fraser – Vocals (?late 1964-66)
Carl Savona – Drums (?late 1964-66)
Ian Ferguson – Bass Guitar (?1965-66, didn’t play on the records)

Record Releases:-

Cos’Of You/Say Hello To Me (HMV EA-4747) 24-02-66
Rum Drunk/I Love You So (HMV EA-4768) ??-06-66
Come On Home (unreleased)

This interview was first written and published by Dean Mittelhauser with John Livi in his fan magazine The Livin’ End #2, September 1984 and is copyright © 1984 Dean Mittelhauser. (John Livi – JL, Livin’ End Magazine – LE)

LE: The Moods were formed in 1965?

JL: Either late ’64 or early ’65. I remember I’d only just turned 14.

LE: What was the lineup?

JL: Carl Savona (drums), Kevin Fraser (vocals), Myself (ld guitar), Mick Hamilton (r guitar) and Peter Noss (bass). Actually Peter left and was replaced by Ian Ferguson, though Peter did play play on both 45′s.

LE: You were all very young.

JL: I was 14, Carl was 16 and the others were 17 & 18. I didn’t really mix with them all that much apart from when we played.

LE: They were all old enough to go out and get pissed and rage!

JL: That’s right and I wan’t!

LE: Did that cause any problems?

JL: Not really. They used to pretty much look after me. My older brother Bernie hung around and he was their age.

LE: How did the band actually start up. They were in a group…obviously they weren’t going anywhere. Were they called the Moods then?

JL: I don’t think they had a name for the band when I came on the scene.

LE: Why did they ask you to join?

LJ: Bernie knew Kevin & Carl, and I was in another band called the Ravens. I’d been playing in various bands since I was 12 years old, but around then I was going in a different direction to the other members of the band. So they asked me to try out. At that stage we’d only practise once a week -it wasn’t serious.

LE: I noticed in the photos taken of the band you had the shortest hair. Was that because you were still at school

JL: Yes, all the others had left school.

LE: They were pretty tough on long hair in those days weren’t they? I remember reading about three guys in Melbourne that got kicked out of school for having long hair!

JL: I had a similar experience. Weh I’d just turned 15, the principal of the school gave me the option of either leaving the band or leaving school. Without telling my parents, I chose the latter option. It was very strict, a Christian Brothers school. My parents had to put me in a business college.

LE: How did your parents react to the fact you were in a band?

JL:: Pretty well actually. I was under my brother’s wing. They never questioned what I was up to.

LE: It was unusual for a band with a recording contract to have a 14 year old lead guitarist.

JL: It wasn’t a gimmick. I was fairly competent on the guitar, I’d been playing since I was ten. It was the when the Beatles first came to my notice that I felt like a change of direction. I remember sitting in the back seat of my father’s Holden, I was 13, and “I WANT TO HOLD YOUR HAND” was playing on the car radio…songs like that, they really grabbed me. They were such a change from what we were doing. At that stage we were playing songs like…

LE: I can probably tell you. The Shadows.

JL: Yeah.

LE: It seems like every band changed over from doing Shadows covers’ to Beatles covers’ almost overnight.

JL: I can remember…The Flies!…with Ronnie Burns singing, in Punt Rd where Kevin Dennis’ car yard used to be. They’d cleared the yard of all the cars one Saturday morning and the Flies were playing there. Nothing but Beatles songs. They would of have been one of the first bands on the scene to play Beatles stuff. But I’m digressing.

LE: Peter Raphael from Go Set managed you. How did that come about?

JL: I don’t know. He was already on the scene when I joined.

LE: You first single came out early in ’66. It got a great review in Go Set. That must’ve pleased all of you, it was Australian Pick of the Week.

JL: Oh yeah, nut the reality of it was that the review came from Go Set and Raphael pushed it. I don’t try and kid myself that it was an objective review.

LE: What exactly did Raphael have to do with Go Set?

JL: I don’t know precisely, he was just on the staff somehow. I heard he was involved with Max Merritt & the Meteors a few years ago. Anyway, regarding the review, we were full of dreams, but we’d rather have seen the single on the charts.

LE: Did it make any of them?

JL: I think “COS OF YOU” made #39 in one chart but I don’t think it went any further.

LE: How did you get the contract with HMV?

JL: That would’ve been Raphael. He just came up to us, told us he’d gotten us a recording contract, and that we had to find some songs to put down.

LE: Were you doing many covers then?

JL: We were doing all covers then! It just wasn’t the done thing to do any of your own songs Raphael told us we nedded four tracks and we had about a dozen that I’d written, although we hadn’t performed any of them. We did do them live after we’d recorded them but not before.

LE: What about TV shows?

JL: Oh, we did Kommotion and the Go Show, and some Saturday morning show in Sydney.

LE: Saturday Date?

JL: I think so. We only did about four or five TV shows.

LE: You also supported the Stones around that time. How was that?

JL: Great! We got a real buzz out of that. The Searchers were also on the bill.

LE: Did you get to meet the Stones?

JL: No, we bumped into them in the passageway backstage, but they pretty much kept to themselves. That was the highlight over everything we did, the Stones tour.

LE: Did you support any other overseas acts?

JL: No, the Stones were the only ones.

LE: That must’ve taken a lot of pushing from Raphael to get that tour for you.

JL: Ummm…(long pause)

LE: Do you want me to turn off the tape?

JL: (Another pause)…no, it’s ok. From what I heard, Go Set had something to do with issuing of the tickets for the show. So there’s Go Set involvement again, and Raphael being with Go Set, plugged us to support the Stones.

LE: But with the type of music you were playing, you would’ve been a good support for them.

JL: Oh yeah, we used to do all the “heavy” stuff then. “THE LAST TIME”,”IT’S ALL OVER NOW”…god, you’re really taxing my memory!

LE: “SATISFACTION”?

JL: I remember when fuzz boxes first came out, they were

the

invention.

LE: And of course you went out and got one.

JL: I went straight out and got one alright! But nowadays they’re old hat.

LE: We were talking earlier about backing other artists. Did you ever back Denise Drysdale? I seem to remember seeing a demo of her somewhere that was labelled Denise Drysdale and the Moods.

JL: I honestly can’t remember. In the early days we did back quite a few female singers, but I’m not sure about about Denise. I remember we did back Pat Carroll at some stage.

LE: Did you back these artists in concert or on stage?

JL: In concert. Hardly any of the TV shows were actually done live.

LE: You just had to mime? That must’ve been a lot of fun.

JL: I always feel sorry for the drummer because he just couldn’t help but hit his cymbal every now and then.

LE: Did they have a live audience on these shows?

JL: Some of them did. Like, on Kommotion there was no audience, they had a tape of screaming girls and they’d dub that in at the beginning and end of each song. I’ve got a feeling that the Go Show had an audience but I can’t remember for sure.

LE: “RUM DRUNK” was released around June ’66. It also got good reviews. It’s a great track. Bad luck it didn’t make it.

JL: Yes, I still like that track myself.

LE: What happened after it’s release?

JL: We played for around four months, then Mick left around October. It was around that time that my parents hit on me to make a decision either for music or schooling. I’d already failed once at school, so I thought I’d leave also. That was about December ’66.

LE: Did the band continue on after you two had left?

JL: No, nothing else happened that I know of. I mean, you pull the two guitarists out of a band and that’s basically their sound gone. Not only that, it’s their knowledge. Ian (bassist) was still left, but it’s pretty hard for him to teach both the lead & rhythm to two new guitarists.

The Moods – Say Hello To Me

The Moods – Rum Drunk

The Moods – Come On Home

I’m a boy, boy and I’m blue,
I’ve got no one, no one ‘cept you
I was brought up, brought up in the slums
But now I’ve come back with nothing but rum

Got no money to pay my rent
Haven’t got not one whole cent
My only hope is to get on the run
And bring with me
My little bottle of rum

Although people pass me by
And when they say I’m no good,
It’s no lie
And though I might just lay down,
Lay down gonna die
My precious little bottle of rum never passes me by…

I’m a boy who’s down on my luck
Haven’t got one whole buck
My only hope is to get on the run
And bring with me my little bottle of rum
Rum Drunk (J.Livi), © Castle Music, 1966.

This article appeared on page 30 of the Tom Thum’ #1, December 1992. Review was written by Downliner Doug.

Don’t Ask Me What I Say / Long Tall Shorty (Mojo MO/002) ??-65

Glenn and The Outlaws are a Melbourne r’n'b band also from the Bayside area. They are known for often playing with The Rising Sons and other r’n'b groups and listening to this I can unterstand why. Don’t Ask Me What I Say has some good guitar work through it. It moves along at a good pace. These guys sure studied their blues for this and it also has an obvious beat influence which makes it a worthwhile A-side.

Long Tall Shorty on the other hand is fanstatic with heaps of harp and plenty of energy. These guys can really play. It has an obvious Kinks influence but heaps punkier and with a good dose of blues. On the Mojo label how could it possibly be anything else.

To quote a posting from Mark Taylor in Feb 2008.

I just heard via phone a crazy 60s garage acetate track called “Found Another Girl” by King Quinn, on Trend. Trend is the Melbourne label that released 45s by The Union, Gemini Five and Town Criers among others.

Via a single phone play, this struck me as one of the cruder and better 60s garage tracks I have ever heard from Australia. With recently discovered material such as this, Arthur’s Thumb and the Chimney Sweeps, Australia’s 60s garage cauldron of cacophony seems almost botumles.

Found Another Girl (Trend) 1965

Band Members:-

John Reid – Guitar (1966-68)
Barend du Preez – Bass Guitar & harmonica (1966-68)
Howard Allingham – Vocals & harmonica (1966-68)
Alan Voss – Drums (1966-68)

Record Releases:-

Devil Girl (1966)/Not Much Time/Milk Cow Blues/No, No, No, No/Till The End Of The Day/Lies, Lies (1967)/Devil Girl (1967)/Cold Fish/Grown Up Wrong/Upside Down World/Mama Keep Your Big Mouth Shut/Hey Myrtle/I Wish You You Would/Sticks And Stones/Give Your Lovin’ To Me/Japanese Garden (Unreleased reel-to-reel tapes)

Band Members:-

Dennis Fiorini – Lead Guitar (1965-67)
Mike Dzuriek – Bass Guitar (1965-?66)
Ian “Chet” Chettle – Drums (?1965)
Dougie Blair – Rhythm Guitar (1965-67)
Bill van Berkel – Drums (?1965-67)
Alan Rowe – Vocals (?1965-67)
Greg Heenan – Bass Guitar (?1966-67)

Record Releases:-

If You Don’t Want Me Now/Sunshine & Happiness/Hush Your Mouth (unreleased tracks 1967)
I’m A Man/By My Side (In Records IN-S-8067) 04-67

This article was first written and published by Dean Mittelhauser in his fan magazine The Livin’ End #3, November 1984 and is copyright © 1984 Dean Mittelhauser.

The Elois, (pronounced E-lies) were formed in the small Victorian town of Maryborough in 1964. Anybody who has read H.G.Wells novel “Time Machine” will know that the Elois were the peace loving future race og humans that were constantly getting hassled by the Morlochs, the baddies. In actual fact, the band were originally called the Morlochs, before plumping for the Elois. The line-up just prior to their name change was; Doug Blair (rhythm), Dennis Fiorini (lead) – both sharing vocal chores, Bill Van Berkel (drums) and Michael Dzuirek (bass).

Six months after formation, Blair was replaced by Alan Rowe, who became the band’s vocalists. Playing mainly at local dances, but sometimes doing gigs over 100 miles away, they quickly built up a good live reputation. They were a fairly tight band, unlike mand copyist bands that inhabited most Australian country towns of the 60s. They aslo had a rougher sound, being influenced by the Who, stones & Yardbirds. Whilst they had to toe the line like their counterparts, and play forty :pap” covers, if they could, they’d slip in something with a bit of bite to it.

It was around this time that Graham Lever, ex-turntable operator, and part time disc jokey for Melbourne’s 3AK, turned up in Maryborough. Lever soon gained a rather flamboyant reputation, with his clothes, car, and very much a Stan Rofe type of DJ patter on his shows. He was impressed by the band, and urged them to “Go South, Young Men” (in this case, Melbourne.) He also became their manager. Battle of the Sounds, running second to Bendigo’s ‘Emeralds. Following up on this, they entered the Ballarat section of the Battle of the Sounds, and won. This entitled them to “battle” it out in the Melbourne Battle of the Sounds, where they ran nowhere. By this stage, Fiorini, an excellent guitarist, had begun experimenting with the “all new” Echolet fuzzbox, prompting them to change their sound. They became known as “North West Victoria’s Feedback Kings.”

Lever continued to push for a move to Melbourne -and Dzuirek, not prepared to make such a commitment, left the band. Within a couple of months, he was conscripted and went to Vietnam. Just prior to his departure, the group cut a few tracks as demos and Lever took them to Melbourne. (The band also did about eight hours solid recording of original material and covers, all abolutely dripping with their fuzz-laden style. Unfortunately, the whereabouts of any of the master tapes are unknown. Editor- These have since been found and are due for release onto CD – tracks are; If You Don’t Want Me Now/Sunshine & Happiness/Hush Your Mouth.)

When Lever returned from Melbourne, he finally persuaded the band to make the move. The demos he’d taken with him were pretty rough, and within a few weeks, the band, under the watchful eyes of Roger Savage, recorded two tracks to hawk around to various record companies. Savage was quite honestly very surprised at their great sound and professionalism. As Alan Rowe said “We were all hayseeds!”

While Lever began to do the rounds, the band gigged around Melbourne, notably Pinocchio’s, the Thumpin’ Tum and 5-4-3-2-1 at Dandenong.

As luck would have it, the first company Lever had taken the tapes to, W & G, agreed to sign the band, so within two months of their arrival, they had their first record out. Although the band had no particular preference for which track as an A side, they did push “I’m A Man” (probably the wyldest version ever of this classic song!) The B side “By My Side:, an original group composition, was also one of the most incredible 45′s released in Australia during the sixties. Anyone who doubted my earlier statement of Fiorini being an excellent guitarist, need only look at this single.

The group appeared on Kommotion, performing “I’m A Man” (wouldn’t that have been something to see!) and the single scraped into a couple of Melbourne charts, though never reaching any higher than #38. THen came the Spencer Davis Group’s version and the Elois version of “I’m A Man” was completely swamped. Let’s face it, the English version was so much more classier and cleaner. How could the guys have competed with the totally manic track they’d put down?

Not to be daunted, W & G made plans for the band to cut an EP, to be produced by Johnny Chester. All four tracks were recorded, two covers & two originals, but W & G were particularly slow in issuing them, and by late ’67, the band had broken up. All four members went their seperate ways, with Heena later turning up in the much touted National Breakouts. Though the Elois released only one single, I think that one extraordinary 45 more than qualifies them for the Australian Punkdom Hall of Fame. They sure didn’t like punks (editor- short hair & tailormade suits.), but, boy, did they sound like ‘em!

Originally called the Beagle Boys from 1965 to early 1966.

Band Members:-

Herman Marcic – Bass (6-Feb 1966-68) Blue Hair
Rudolph Marcic – Drums (6-Feb 1966-68) Green Hair
Eric Marcic – Lead Guitar (6-Feb 1966-67) Red Hair
Keith Matcham – Vocals (6-Feb 1966-68) Purple Hair
Michael Parnis – Rhythm Guitar (?1966)
Richard White – Rhythm Guitar (1966) Pink Hair
Greg “Sleepy” Lawrie – Lead Guitar (1967-?68) Red Wig/Hair

Record Releases:-

All I Do is Cry/Mona (66|Sound S45-01) ??-66
Ugly Thing/Your One And Only Man (RCA 101803) 11-67

This article was first written and published by Dean Mittelhauser in his fan magazine The Livin’ End #3, November 1984 and is copyright © 1984 Dean Mittelhauser.

The Creatures are one of those almost “mythical” bands that created a legend 15 years on because they dared to be different. What was it about them that has created (or at least helped to create) such great compilation LP’a as “Ugly Things.” Was it their name? If that didn’t catch your eye you would have had to have been a dead set preppie, or just dead full stop. Was it their classic 45 “Ugly Thing”, or maybe the even more elusive 66 Sound single. Was it their incredibly long hair, dyed in various mind boggling colours? Whatever it was, they are probably, along with the Missing Links, Australia’s only true punk band of the sixties. Let’s backtrack a few years to Mildura, 1965, and see what made ‘em tick…

The band were originally formed as the Beagle Boys in 1965. They all came from the bustling border town of Mildura, and concentrated mostly on instrumentals with a few vocals thrown in. Xmas was the turning point of the band. They supported the Easybeats at a local dance, and the promoter (Tom Towle) suggested that if they changed their and image, he would get them work in Sydney. They began performing R ‘n’ B songs and on February 6th, 1966, the officially became the Creatures. The lineup at this stage was: Keith Matcham (vocals, he was brought into the band specifically for their new sound), Eric Marcic (lead), Rudolph Marcic (drums), Herman Marcic (bass), and Michael Parnis (rhythm).

True to his word, Towle got them work in Sydney and they regularly supported the Easybeats at Beatle Village. They also played quite a few country gigs and even toured Queensland. Around the middle of 1966, the band got restless. Although getting good live reaction, they felt they weren’t progressing enough, and needed a gimmick.

Apparently a French hairdresser that used to do hair of one of the band’s girlfriends (Editor – vocalists Keith Matcham’s girl.) had made some passing remark that he would like to get hold of someone and dye their hair lurid colours. She mentioned it to her boyfriend, and hey presto! Here was a gimmick tailor made, and without much ado, Eric became a redhead, Herman a bluehead, Keith a purplehead, and Michaela pinkhead. Rudolph naturally turned green with envy. (Later on the band appeared on the television show “I’ve Got A Secret”, and we can’t half guess what their secret was, can we? Betcha it fooled the contestants!)

Naturally they were frequently hassled, but the dyed hair certainly achieved the desired effect – it got people talking about them. At the time, there was so much competition that any sort of recognition from the public was worthwhile.

Late in ’66, a friend and part time roadie of the band had mentioned that he knew a guy (David Gibson) was building his own recording studio in Hurtsville. The boys met him and helped him finish building and seting it up, eventually recording the legendary “Mona”. Copies of the single are as scarce as hens’ teeth and not even any of the band members have a copy. I’ve also heard a vague rumour that there was another 45 released on 66 Sound (though not by the Creatures.)

Problems over the band’s management occurred between the members, and Eric left not long after the single came out. He was replaced by Greg Lawrie, whose hair, at the time, was very short. To get over this, he would wear a wig when performing. On one particular nightwhen the band were ready to go back onstage, Greg was otherwise engaged in chatting up a chick. After repeated pleas from the band, they finally went over and picked him up, carrying him over to the stage. As they reached the stage, his wig fell off, and frantic attempts to replace it proved fruitless. At one stage he even had the damn thing on backward!

Management of the band was now being done by well know television announcer Max Rowley (who now does the voice overs for Perfect Match.) Back then Rowley, apparently was only into managing bands. They went to Queensland for some months and took over the running of their own discotheque, the Op A Go Go, in Surfers Paradise, where they played as the sole band.

Returning to Sydney, everybody had their hair bleached white, except Keith who had his dyed black. They made another move, this time to Melbourne, and played the cool haunts, such as Catchers, but no sooner had they arrived, when RCA rang them up to see whether they’d be interested in recording a single. THey jumped at the chance, and drove all night in an effort to be there by the next day. By the time they’d arrived, they were all pretty stuffed and recorded the single in a half stupor. Despite this, what came out of that studio was one of the snottiest tracks ever to be recorded in Australia. They returned to Melbourne, and their management was taken over by David Flint, also manager of CamPact, and owner of the Thumpin’ Tum. They also felt that their name the Creatures was outmoded and began to think of a name change. Allegedly Ian Meldrum came up with their new name, the Chocolate, and Flint secured them a contract with Festival records. The resultant single “I’m An Animal”, was recorded in a small studio in Chapel St, St Kilda. AS to be expected the single bombed, and the band band soldiered on into 1970, but broke up soon after. They’d been together for just over four years, and yet released only three scant singles in that time, certainly a bad oversight made by the talent scouts of the day. Whatever, “Ugly Thing” will stand long testesmance to their ability.

Each of the band went their own way, Herman played for a few months in Toby Jug, a band which contained a very young Garth Porter. Sadly Keith Matcham was shot to death on the premises of the panel beating business that he ran with his wife, some years ago.

Many thanks to Peter Markmann whom provided the colour photo of the Creatures & the RCA label scan.