Artists/Bands [D-G]

 NB: If an individual’s Christian or surname is currently unknown this is indicated by an asterisk placed between brackets [*].

  

DINOSAURS FROM CHINA

(1983 – ca. 1984)

A rock/pop band comprising students from the University of New England, Dinosaurs from China was largely based in Armidale. One of the band’s more significant shows was the $3 Bands for $3 concert put on at Wright College (UNE) in 1983 by S.T.D. Music Hire and Promotions. The other bands were headline act Shoot the DJ and The Zip. 

Source: Clay Djubal (2009).

   

CLAY DJUBAL

(1959 – )

  • Bands: The Astros ; Blue Max ; Crash Landing ; Health Club ; Shoot the DJ ; Some Trippin’ Diggers ; Three Blind Mice (Mackay, Qld), Vice Squad

Bass guitar/guitar/keyboards/drums/vocals/songwriter.

The great-great-great nephew of Harry Clay, one of Australia’s leading vaudeville entrepreneurs of the early 20th century, Clay Djubal grew up in Griffith, Sydney and Armidale (NSW). He spent the first twenty years of his working life alternating between the hospitality industry – as a chef/manager (including Clayz Kitchen, Armidale), and the entertainment industry – as singer/songwriter/bass player. He co-founded the hippy punk bands Health Club and Vice Squad in Armidale the late 1970s before moving to Sydney where he joined former band mates Dick Rummery and David Morris in The Astros (with drummer Matt Hirst).

At an Astros' rehearsal †

After a brief break from the music industry (he joined the Australian Army as an artillery gunner for three years), Clay returned to Armidale and with Doiran James formed Crash Landing. The following year he founded Shoot the DJ. At the same time he established S.T.D. Music, Hire and Promotion. In these bands he was the principal songwriter and lead singer, as well as stage designer. His creative collaboration with poet Jo-ann Simmons began shortly after the founding of Shoot the DJ. Simmons, who contributed with both lyrics and design had joined the originally as sound and lighting operator. The pair married in early 1984.

An early Shoot the DJ gig

Following the disbanding of Shoot the DJ in late 1983 the Djubals moved to to Sydney and founded the creative collective Some Trippin’ Diggers and later reformed Shoot the DJ (with Ian Mitchell and new member Nick Miles). In 1987 they returned to Armidale, setting up Clayz Kitchen, a cafe specialising in and vegetarian cuisines. The Djubals actively promoted local poets, artists and performers, and the cafe also became the regular host for University of New England’s film society (Duck Soup) and various drama societies.

Mackay ca. 1989

When Clay’s Kitchen folded in late 1988 after two exacting but fun-filled years, it also brought about the end of Djubals marriage. While Jo eventually moved to Sydney and Darwin before settling in North Queensland, Clay moved to Brisbane (as the chef at the Alderley Arms Hotel). He also later found himself briefly in North Queensland as the Head Chef of the Mackay’s Australian Hotel and bass player/singer in the covers band Three Blind Mice. He returned to Brisbane in 1991, taking up his old position at the Alderley Arms. The following year he retired from cooking to complete his senior high school certificate (Hendra Senior Secondary College).

In 1993 Clay undertook a Bachelor of Arts degree in English and Drama at The University of Queensland (1993-1996). He graduated with a Master of Arts in 1998, having explored the life and career of his famous uncle (“Harry Clay and Clay’s Vaudeville Company – 1865-1926: An Historical and Critical Survey“). Research from that thesis was included in the George Wallace documentary Funny by George (ABC-TV, 2000). In 2005 he was awarded a Ph D for his dissertation, “What Oh Tonight: The Methodology Factor and Pre-1930s Australian Variety Theatre.” The thesis examines the problems facing historians using the traditional methodological approach to mapping Australian popular culture entertainment history and proposes an alternative and ultimately more successful means of undertaking this task.

A tutor, lecturer and course convenor at The University of Queensland in the fields of popular music, media and popular culture (2001-06), Dr Djubal developed two new courses for the University’s School of Music (The Musical: History, Theory and Practice and Beyond Rock: Music in the Digital Age). He has also lectured in Entertainment Business Management for the JMC Academy (Brisbane) and guest lectured at QUT (drama). His academic publications appear in Australasian Drama Studies, The Journal of Australian Studies, Media-Culture, Proceedings from the ‘When Soldiers’ Return’ Conference (2007, with Richard Fotheringham), and Creative Nation: Australian Cinema and Cultural Studies Reader (2009). In 2005 Dr Djubal was the principal speaker at a University of Queensland/Friends of the Fryer presentation celebrating the Nat Phillips Collection (q.v.) which he archived over a five year period. A Finding Aid to the collection is now available through the University of Queensland’s Fryer Library. In 2006 he joined AustLit: The Resource for Australian Literature as a specialist variety theatre and film/television historian. His research is published online in AustLit’s Australian Popular Theatre and Australian Film and Television subsets. He also contributed to the Biography of Australian Literature project. Dr Djubal is currently editing a collection of larrikin-inspired poetry, illustrations and anecdotes which appeared in the 1890s newspaper The Bird of Freedom. To be titled Throwing Stones, the volume will be published by Have Gravity Will Threaten in 2010.

The Last Word (words/music by Clay Djubal; additional music by Marcel Dorney), was staged at the Cement Box Theatre, Brisbane in 1998. As a lyricist he has since collaborated on a musical adaptation of J.M. Barry’s Dear Brutus with Brisbane composer Simon Chan, and is currently working on the libretto for a re-working of Oliver Goldsmith’s farce, She Stoops to Conquer. (working title All That Glitters). In the roles of composer/music director he worked on the theatre productions Marvellous Melbourne (1994), The Suicide (1994), Translations (1995) and Manfred (1996, as co-writer). In addition to taking on acting roles in the previous productions he has appeared in a 1997 Brisbane production of Michael Weller’s Cancer. Dr Djubal founded Have Gravity Will Threaten out of the ashes of S.T. Music Hire and promotions and continues to write and record with his rock collective Some Trippin’ Diggers.

Three Blind Mice (Hotel Mackay 1989)
  • To see some of Dr Djubal’s research visit The University of Queendland’s Fryer Library online presentation Nat Phillips Collection  ; Finding Aid  and Contact  magazine article (qq.v.).
  • See also the following essays and articles:  Harry Clay (Australasian Drama Studies, 1999) [PDF file] ; Walter Bentley (Journal of Australian Studies 2001) ; and “One Thing to Bind Them All” (q.v., Media-Culture, 2003) [online]
  • Extracts from the George Wallace documentary Funny By George can be accessed via the Australian Screen  (q.v.) website.
  • See also this site’s Music [HGWT] page for details of recordings by Clay or the various band entries (for audio files).

Source: Abstract derived from AustLit: The Australian Literature Resource. Images: Photos courtesy of Clay Djubal. 

   

BART DOUGLASS

aka Bart Black

  • Bands: The Snoggs (1986-88)
Bass guitar/guitar/vocals. 

After starting out in the Armidale music scene in the early 1980s, collaborating with such musicians as Doiran James, Barton Douglass, moved to the Katoomba region in 1986, co-founding The Snoggs with James. He later moved to Sydney, where he continues to pursue a music career among other things. 

Source: Doiran James (interview, 2009).

   

EDGE

(ca. 1975-1977)

  •  Personnel: Trevor Dunham (vocals) ; Noel Calcott ; Chris Green (guitar/vocals) ; Cliff Grigg (drums) ; Simon Morgan (vocals) ; Hugh Reedman ; Dick Rummery (keyboards/vocals) ; Bill Sawyer   

One of numerous high school bands to form in Armidale during  the mid-late 1970s, Edge was arguably the bench-mark for aspiring local teenage musicians, boasting as it did the particularly advanced musical prowess of Chris Green (lead guitar) and Cliff Grigg (drums). As with most other high school bands Edge disbanded after the members finished Year 12 (6th Form back then!), with Green going on to join Constable Green and Moore, and Cliff Grigg moving to Sydney where he later co-founded v Spy v Spy. 

A later line-up (ca. 1977) included Simon Morgan and Dick Rummery (who had previously played together in Blue Max). 

Source: Clay Djubal (2009) • Richard Rummery (correspondance, 2009).

   

ELSESS

(ca. 1976-1978)

  • Personnel incl. Jon Anderson (guitar/vocals) ; Bruce Jones (guitar/lead vocals) ; Peter Kerr (piano) ; Peter ‘Groover’ Makeham  (bass) ; David Lennon  (drums)

Formed ca. 1976 by students at Armidale High School, Elsess was one of a number of school-based bands which emerged out of Armidale in the mid-late 1970s, including Edge and Blue Max. David Lennon went on to play in a number of prominent Australian ska bands, notably Strange Tenants and the Allnighters. Jon Anderson later played in several Armidale-based bands, including Shoot the DJ and  Helga und der Blitzkrieg.

Source: Jon Anderson (correspondance, 2009). Clay Djubal (2009).

 

FAST ASLEEP

(ca.  1979)

Personnel: John Dodd ; Paul Dushlack (guitar) ; John Iser ; Mick Porter ; Jenny [*] (vocals), Sue [*] (vocals)

Fast Asleep formed in the late 1970s as a country rock-style band, influenced by such US West Coast acts as Little Feat, The Amazing Rhythm Aces, The Grateful Dead and Candian legend, Neil Young. Although based in Armidale the band mostly played throughout the Northern Tablelands and other nearby regions - toruing as far to the north-west as Lightning Ridge and Moree and to Northern NSW coastal centres such as Bellingen and Coffs Harbour. Glen Michell, who was employed as its roadie, remembers that Fast Asleep’s few hometown gigs included the UNE Bistro, the Grand and St. Kilda hotels and several benefit shows. 

The band’s personnel comprised New Zealander John Dodd (who had connections with Mother Goose in Dunedin), Canadian Paul Dushlack plus Armidale musicians John Iser and Mick Porter (who were also both in Sweathogs).  The two female vocalists, Jenny and Sue are believed to have been from Armidale, too.  In correspondence with HGWT Glen Michell recalls that Fast Asleep was much in demand throughout the region for B&S Balls (Bachelors’ and Spinsters). Although these were typically well-paid gigs (most often set up in barns or sheds on rural properties with limited security), bands also typically had to watch out for themselves as the alcohol consumption (for both males and females) would rise exponentially as the evenings progressed. At one ball, held in a woolshed out of Moree, for example, an audience member requested Fast Asleep play “Running Bear,” which the band obligingly did. The trouble was that the rum-soaked mob wanted the band to keep on playing it and set up a chant of “We want ‘Running Bear’!” In such moments diplomacy and/or a well-conceived exit strategy were generally well-advised in case of mayhem.

Source: Glen Michell (correspondance, 2010).

 

CLIFF GRIGG

(1960 – )

  • Bands: Edge ; v Spy v Spy ; Mixed Relations ; Brainspeak

Drums/vocals.

Cliff Grigg’s family moved from Sydney to Armidale in the early 1970s when he was eleven or twelve. During his youth he displayed a talent and passion for art, particularly painting. His other great passion was playing drums, and while a student at Duval High School he was a member of the band Edge. Grigg left Armidale in 1979 study art at Sydney’s Alexander Mackie College of Advanced Education. Two of his tutors there were Alun Leach Jones and Graham Kuo.  In order to survive as a poor art student he took up (free) residence in an inner suburban Glebe squat (the house didn’t even have a roof when he first moved in). 

In 1980 Grigg met Michael Weiley (guitar) and Craig Bloxom (bass) and the trio formed Spy V Spy (later changed to v Spy v Spy to avoid copyright infringement with the Mad Magazine cartoon). Following their first gig at the Sussex Hotel the band began finding regular work. Although Grigg’s love of ska and reggae music was a significant influence on the band’s sound during their early period, it eventually moved towards a more aggressive rock style.  V Spy V Spy’s first single “Do What You Say” was followed by an EP, Four Fresh Lemons. They shortly afterwards signed with Midnight Oil’s manager Gary Morris and released the mini-album Meet Us Inside.  The first album, Harry’s Reasons, was produced in 1986 with the platinum-selling  A.O. Mod. TV Vers released in 1987 and Xenophobia (Why?) in 1988.  Some of Grigg’s earliest professional work can be seen in cover art from these albums. Following the 1989 album, Trash the Planet (recorded in England at Richard Branson’s Manor House studios), he left the band to concentrate on his art. His later musical projects have included performing with the bands Mixed Relations (as guest percussionist) and Brainspeak.

Grigg’s decision to leave V Spy V Spy came about after a chance meeting with Brett Whiteley. The renowned artist told him that the band had an ‘orange energy in their music’ and that they had inspired him to conceive some ‘large orange pieces’ (which he painted while listening to their CDs).  This compliment became a turning point in re-igniting Grigg’s interest in painting. 

Since the early 1990s Grigg has sought to evoke the deeply philosophical core of the artist. His paintings explore the continuous dialogue and themes around urban construction, panoramas and scenes that we all take for granted. His more recent work involves the Italian ‘sfumato’ technique (dry brush) and ‘chiaroscruro,’ whereby he draws the whole image without colour and drawing towards the light from the shadow in the work thus creating a dream like quality. His works are also composed from renaissance scriptures adding a mystique to the works.

For further information on V Spy V Spy see: 

On stage with v Spy v Spy ca. 1987 

Source: Robyn Cork [nee Grigg] (correspondance) • Steve Grigg (correspondance) • Soho Galleries, Sydney - Cliff Grigg Exhibition (online). Images: Photos courtesy of Heather Grigg. 

 

GUERILLA

(1979)

  • Incl. Rod Clay (vocals/guitar/bass/drums) ;  Pat Cuskelly (keyboards) ; Doiran James (vocals/drums/guitar) ; Brian McCully (drums) ; David Morris (vocals/guitar/bass) ; Dick Rummery (vocals/guitar/bass/keyboards) ;  Preston Stahlut (vocals/guitar/bass) ; Dog Stanley (guitar) ; Malcolm Toft (sax/vocals) 

Guerilla was never a band, and indeed the name was only loosely applied to this ‘jamming’ collective as a joke. The various participants would meet for wine, weed and music afternoons (or evenings) whenever a time and place could be organised. The majority of get-togethers occurred on properties outside Armidale. One advantage of being in the country was that there were many more opportunities to play outside rather than being stuck inside studios. The sessions would involve playing songs that most people knew – with the Rolling Stones, Hendrix, Cream, The Beatles, Billy Thorpe and the Aztecs, and The Angels providing some of the more popular covers. 

With most individuals in the collective being able to play more than one instrument the sessions typically included improvised performances whereby people would swap (i.e. borrow) instruments and equipment to play lengthy jams. 

Clay and BrianRod Clay (playing Dog Stanley’s Gibson) and Brian McCully (playing his own drums)  
Source: Clay Djubal (2009). Image:  Photo courtesy of Heather Grigg

  

   

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