Artists/Bands [C]

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

CAPTAINS OF INDUSTRY

(1983-1985)

  • Personnel: Jane Hewetson (bass) ; Ziggy Mirza (guitar/vocals) ; Ian Mitchell (drums) ; Peter Mitchell (lead vocals/guitar) ; Tim Rollinson (guitar).
  • Also associated with the band: Chris Green (vocals)

Formed in Sydney in late 1983 by Peter and Ian Mitchell, Captains of Industry was essentially a vehicle for Peter Mitchell’s songs. During the previous few years Mitchell had been focusing on his songwriting craft, writing and recording several solo albums on a Tascam 144 (4-track) Portastudio in collaboration with his brother. These were subsequently made available on cassette format. Prior to joining Captains of Industry Ian Mitchell had been Shoot the DJ‘s drummer and sound recording engineer. The first line-up comprised the Mitchell brothers, Tim Rollinson and Jane Hewetson. Guitarist, Ziggy Mirza, who had also played in Shoot the DJ, also eventually joined the band, replacing Tim Rollinson (who later went on to form the jazz/hop hop fusion band Directions in Groove aka D.I.G.).

The Mitchell brothers ca. 1985

Captains of Industry received some initial interest from publisher Chappell Music, the charts were at that time dominated by New Romantic/synth pop and new wave ‘video’ rock bands. The Australian music industry of the early to mid-1980s was therefore not the time for word-centred bands like Captains of Industry. The band nevertheless established a small but enthusiastic following in Sydney, playing such venues as The Lismore Hotel (Pitt Street, Sydney), Vulcan Hotel (Ultimo), Trade Union Club, Harold Park Hotel, the performance Space (Redfern) and the infamous French’s (Oxford Street, Darlinghurst)

During the three years the band was together it recorded a good deal of material. Peter Mitchell indicates that at least 30 songs were recorded on the old Tascam 144. Six songs were produced in an 8-track studio at Alexander Mackie College (Paddington, Sydney). Another seven songs were recorded by Martin Cass at his JMC Studios in Elizabeth Street, Strawberry Hills (Sydney). Two songs from the JMC sessions were to be released as a single (“Skeleton Song” b/w “American Americans”), but according to Mitchell the band’s manager, ‘a somewhat shadowy publican with wharfie connections had paid for the recordings… with certain “illicit substances.” Owing to a subsequent supply problem he could not “pay” for the release of the record’ (p. 7). These two songs also feature guest backing vocals by former Armidale guitarist/singer Chris Green (Edge).

Source: Peter Mitchell, The Great Unknown (1995), pp. 7, 12. Image: Photo courtesy of Peter Mitchell (www.peterandpenny.com)

RON CARPENTER

  • Bands incl. AC/DC ; Aleph ; Bogislav ; Early Hours ; First Light ; The Generation Paddywack
  • Also associated with Cold Chisel

Born into a musical family, Ron Carpenter’s parents, grandparents and two sisters were all accomplished musicians. He took classical piano lessons for fifteen years, later taught himself guitar and played drums in his parents’ band. By age twelve he was writing songs and in 1965 formed the first of several high school rock bands – notably The Generation, Early Hours and Paddywak (with Peter Sheedy).

While studying at The University of New England for four years, Carpenter co-founded Bogislav, arguably Armidale’s premiere hard rock band of the early 1970s. The band in fact made it all the way to the NSW State finals of the 1972 Hoadley National Battle of the Sounds competition. [for additional information on Bogislav see its entry on this page] He also became interested in computers and synthesizers at this time, with that interest playing a major influence in shaping his later music career. Following the disbanding of Bogislav in late 1972 Carpenter moved to Sydney where over the period 1973-1974 he played in an early AC DC line-up. Married at the time he was also teaching at a High School during the day, building a PA prototype in the afternoons and composing and playing at nights.

Bogislav (ca. 1972)

In 1974, while still with AC/DC, Carpenter co-founded the six-piece band Aleph with Dave Froggatt (guitar) and Dave Highet (bass/flute). All three had previously played together in Bogislav. The band’s repertoire comprised original compositions in the art/ symphonic rock genre, utilising such instruments as moog and Oberheim synths, Mellotrons, flute and elaborate guitar effects. The original Aleph line-up, which also included Mary Jane Carpenter, released one album, Surface Tension (1977). [for additional information on Aleph see the entry on this page]

In 1978, with Aleph having sustained a $400,000 debt, which also saw the band’s custom PA repossessed, Carpenter took leave of absence to fill-in as Cold Chisel‘s drummer for several months. His connection with the band was through Don Walker, who he’d previously played with in Bogislav. Carpenter also briefly formed the band First Light around this period. With that band he recorded and released a self-financed album in 1979.

In 1979 Carpenter convinced the remaining members of Aleph (along with their families) to base themselves out of Byron Bay. Over the next few years the band whittled down from a five piece, to quartet and eventually to a trio, with Carpenter taking on lead vocal duties towards the end. The band managed to secure almost nightly gigs through until 1983 on the North Coast and Gold Coast, however, and according to Carpenter repaid most of the debt.

By the mid to late 1990s Carpenter’s interest in music technology led him to reject artificial surround sound formats such as Dolby, THX and DTS and he instead invented Plex technology, which allows him to position and control sound sources anywhere in a 3D speaker matrix. He argues that commercial surround sound systems are not much better than stereo because the music is mainly stereo recording masters which have been re-jigged to create an artificial surround sound experience. After securing sponsorship from Electro-voice (Australia) in 2003 he was able to demonstrate the system using sixteen SX300 speakers, two Dynacord 800 Sub-woofers, 2 kilometres of wiring and 60,000 watts of amplification. He has recorded hundreds of hours of music which allows him to utilise the system. By employing wireless in-ear monitoring Carpenter can spatialise a live band’s sound (as long as each musician plays an electric instrument so that no sound is produced on the performance stage). Carpenter believes that ultimate goal will be to involve composers and musicians in creating true 3D soundscapes at the start of the creative process (by exploiting the possibilities of space) rather than in the mastering stages of a recording [for more detailed insights into Plex see the Ron Carpenter biography below]

Source: Ron Carpenter (buoy.com article, 2006) • “Aleph” (alexgitlin.com). Image: Images sourced from alexgitlin.com) †

ASHLEY CARROLL

  • Bands: Crash Landing

Hailing from Katoomba in the NSW Blue Mountains Ashley Carroll attended the University of New England in the early 1980s. While there he teamed up with Doiran James and Rod Clay to form Crash Landing. Carroll’s influence on Crash Landing could be heard in the group’s choice of several southern US boogie/hard rock songs from bands like Lynard Skynard and ZZ Top.

Source: Clay Djubal (2009).

THE CHOOKS

(ca. 1980-1982)

  • Personnel: Kim Constable (bass/vocals) ; Robert ‘Bob’ Jones (guitar/ lead vocals) ; Brian ‘Lanky’ Moore (drums/vocals) ; Mick O’Shea (drums) ; Davey Scotland (guitar/vocals) ;

After disbanding Constable, Green and Moore, in the late 1980, Kim Constable and Brian Moore moved to Sydney where they teamed up with Bob Jones, Moore’s former band mate in Kelsey and Purple Haze.  Jones had previously been playing in Sydney with a band called Stunned Mullet. Specialising in high energy rock/pop covers with a smattering of originals, the band built a strong following across Sydney playing venues such as the Oxford Tavern (Petersham), the Watson’s Bay Hotel, The Sussex Hotel and The White Horse. It was also firmly associated with the Sando (Sandringham Hotel, Newtown).

Much of The Chooks’ appeal, apart from an extremely tight sound, lay in the ability of each of its members to work towards presenting a visually exciting show without relying on high production values.  Among the band’s covers were songs by AC/DC, The Who, Joe Jackson, The Beatles, Herman’s Hermits, ZZ Top, The Animals, The Sex Pistols, The Small Faces, Nick Lowe, The Troggs, Bob Seeger and The Police. One particular favourite with audiences was the band’s cover of the AC/DC classic, “If You Want Blood (You Got It).” This rendition, invariably played at the end of the show,  had them frothing fake blood from capsules. It was also not uncommon to See Bob Jones leaping up on any nearby platform – be it tables or the venue’s serving bar (i.e. The Sando) – spitting lyrics and blood over anyone not moving out of the way fast enough.

The Chooks released at least one single, a cover of the Herman’s Hermits’ hit, “Something Good.” The B-side was a Bob Jones’ original, “Heads or Tails.” Before the band broke up sometime in late 1981 or early 1982, it was expanded briefly to a four-piece with the addition of guitarist/singer Davey Scotland. Mick O’Shea also briefly replaced Brian Moore near the end.

Bob Jones went on to form Forever 15 with Davey Scotland, while Kim Constable joined the Ratbags of Rhythm (as well as briefly appearing at the same time in the Conway brothers Carnival, a cabaret/vaudeville-style show). Lanky Moore returned to Armidale where among other things he helped manage Newell’s Music Centre,  and later set up an Armidale branch of the Tamworth-based Cheapa Music store. Mick O’Shea later became a key member of The Choirboys, and was also associated with Dragon and the Divinyls at various times. By the mid to late-1990s Kim Constable and Davey Scotland were also playing together again in a  revived Ol ’55 line-up.

In 1986 all former members of The Chooks reunited at the Sandringham Hotel, with Brian Moore and Mick O’Shea sharing the drumming duties.  The gig also featured a special guest appearance of Constable Green and Moore.  Selected clips from a video of the The Chooks reunion will be uploaded on to this site in early 2011.

Sources: Clay Djubal (2009) • Brian Moore (correspondence, 2010). Images: Flyer courtesy of Brian Moore.


COLD CHISEL

(1973-1984; 1998 ; 2003)

cold-chisel

  • Personnel: Jimmy Barnes (vocals) ; Les Kaczmarek (bass, 1974-1974) ;Ian Moss (guitar/vocals) ; Steve Prestwich (drums/vocals) ; Phil Small (bass/vocals, 1975-) Don Walker (keyboards/vocals)
  • Also associated with the band: Ron Carpenter (ca. 1978)

Generally regarded as one of the leading Australian pub rock bands of the 1970s and 1980s, Cold Chisel formed in Adelaide in 1973. By the time the band officially in it had released 6 studio albums and one live album. The band was inducted into the Aria Hall of fame in 1993, becoming the second of the 1970s bands to be accorded this honour (the first being Skyhooks). Cold Chisel’s classic line-up, beginning 1975, at which time it was largely based in Sydney, comprised Jimmy Barnes, Ian Moss, Don Walker, Phil Small, and Steve Prestwich. The band’s LP releases were : Cold Chisel (1978), Breakfast at Sweethearts (1979), East (1980), Swingshift (1981), Circus Animals (1982) Twentieth Century (1984) and Barking Spiders Live: 1983 (1984). The band also released the EP You’re Thirteen, You’re Beautiful, and You’re Mine in 1977. Among Cold Chisel’s canon of classic songs are : “Khe Sanh” (voted in a #8 in APRA’s all time greatest Australian songs poll), “Choir Girl,” “Cheap Wine,” “My Baby,” “You Got Nothing I Want,” “When the War is Over,” “Saturday Night” and “Flame Trees.”

Cold Chisel’s connection with the New England region comes via a short stay in Armidale in 1974 when the band temporarily relocated there from Adelaide while Don Walker completed his Masters degree at the University of New England. Although born in Ayr (North Queensland) Walker had grown up in Grafton in Northern NSW and moved to Armidale in 1969 to undertake a science degree at UNE. While a student he also played in the local hard rock outfit, Bogislav (one of the most popular bands in the Northern Tablelands at that time Bogislav’s claim to fame was making it to the NSW State finals of the 1972 national Battle of the Sounds competition). In 1973, having completed his degree, Walker moved to Adelaide to work at the Weapon’s Research Establishment at Salisbury. That same year he co-founded Cold Chisel.

While the length of the Cold Chisel’s stay in Armidale varies according to several sources (Jimmy Barnes claims it was for 12-18 months, for example), the ‘Gigs History’ page on the band’s official website indicates that it resided there for only 6-7 months (ca. March – September 1974). Nevertheless, in the Australian tradition of making anyone who stayed here for any length of time one of us (even New Zealanders), so Armidalian’s lay claim to playing a part in the Cold Chisel legend. Tony Jaggers notes, too, that  another member of the band, Phil Small, also has an additional connection with the town. Small married Christine McKenzie, the daughter of local policeman Sergeant Murdo McKenzie, who was associated with the Police Citizens Boys Club for many years.

Cold Chisel’s Armidale sojourn saw the members at that time live on a property in the outlaying district of Kentucky. Having only recently changed their name from Orange to Cold Chisel, the band at that time included original bass player Les Kaczmarek. In addition to some legendary parties the band entertained, Cold Chisel also played gigs at the Armidale Town Hall, the wool shed at the Therley Research Station (possibly a UNE college or Rural Science ball) and the Armidale Teachers College (later the College of Advanced Education). The Armidale connection was rekindled in 1978 when Don Walker’s former band mate in Bogislav, drummer Ron Carpenter, was asked to fill in for Steve Prestwich for several months.

Since officially breaking up in 1984 Cold Chisel have reformed briefly on several occasions, and have also released several albums of new material, along with several compilations/greatest hits packages.

  • To visit the official Cold Chisel website click on the following link: Cold Chisel
Source: Cold Chisel Official Site (online) • Tony Jaggers (correspondence, Nov. 2010). Image: Top photo courtesy Sydney Morning Herald (online) †

KIM CONSTABLE

  • Bands:  Carnival ; The Chooks; Constable, Green and Moore ; Inner Soul ; Ol’ 55 ; On the Prowl ; Ratbags of Rhythm ; Ukiah

Bass guitar/vocals.

An influential bass player/singer in Armidale during the late 1970s, Kim Constable played with Moree band Inner Soul before moving to Armidale  in 1976 to join the Robbie Gray Big Band. He later played with Ukiah before co-founding the hard rock outfit Constable, Green and Moore in 1978. (later known as Constable Green Moore and Brazil). In the early 1980s he moved to Sydney and soon afterwards joined fellow Armidalians’ Bob Jones and Lanky Moore in the three piece pop/rock band The Chooks (1980-1981). The band briefly became a four piece with the addition of Davey Scotland on guitar/vocals.

Between 1981 and 1984 Constable was a member of  the Ratbags of Rhythm (1981-1984), a swing band which had some notoriety with its minor hit single, “I’ll Be a Baby for the Dingo on Your Heart.” The band also released an EP with the song on it. Towards the end of the band’s career Constable also became a member of the Mic and Tim Conway-led vaudeville/cabaret band, Carnival (1983) with fellow Ratbags of Rhythm drummer Warwick Kent.>

Sometime around the mid-late 1990s Constable joined retro 1950s band Ol’ 55. The classic line-up (from 1975) had included Frankie J. Holden (vocals), Rockpile Jones (guitar/vocals) and Wilbur Wilde (sax/vocals). In 1999 the band comprised Constable, Rockpile Jones, Davey Scotland (formerly with The Chooks), Mark Fairhurst and Peter Northcott. Constable and Rockpile Jones later played in another 1950s-influenced band On the Prowl (ca. 2009). Kim Constable can be seen in the 2007 film Clubland (as one of the members of the wedding reception band).

Sources: TE Archive (online) • JacobsLearnEarn blog (online) • Brian Moore (interview, Aug. 2010) • Ol’ 55 MySpace • ‘Captain Matchbox’ Milesago.com (online)

CONSTABLE, GREEN AND MOORE

aka Constable, Green and Moore and Brazel

(1978-1980)

A Constable Green Moore and Brazel reunion at the Club Hotel (ca. late 1980s)
  • Kim Constable (bass/vocals) ; Chris Green (guitar/vocals) ; Brian ‘Lanky’ Moore (drums/vocals)

Playing classic rock in the power-trio tradition of such iconic (three instrument) bands from the 1960s and 1970s – notably Cream, The Who, Led Zeppelin, Constable, Green and Moore (CGM) formed in early 1978.  The older members of the group, Kim Constable and Lanky Moore, had already built solid reputations in the local industry, while Chris Green had attracted much attention during the previous two years as lead guitarist with the Duval High School band Edge. Among the covers played by CGM were songs by Led Zeppelin, Grand Funk Railroad, Robin Trower, Free, Jimi Henrdrix, Neil Young and Supertramp. Australian covers were from band such as Healing ForceKevin Borich, The Angels and The Easybeats. Two factors which made GMC stand out from both previous and the current crop of local bands were its vocals and overall sound. With all three members being more than capable singers, the heavy rock style they generated though their instruments was often juxtposed by three-part hamonies. The Constable, Green and Moore sound was also due in part to its PA system, which was operated from the front-of-house. Before CGM not other local band had had access to full sound production,  and it was this fully professional feature that made the trio stand out immediately.

Constable, Green and Moore played its first gig at the Grand Hotel and quickly built a following playing all of Armidale’s major venues and in other Northern Tablelands towns. Surprisingly the band also scored frequent gigs at the Galloping Grape wine bar and bistro. Although more suited to small ensembles and lounge-style acts, the Grape’s management decided to try out Armidale’s loudest band and this proved to be a more than successful venture. The only problem in the end was that the band was so loud that it drew complaints from the Capitol Cinema, situated across the road in Beardy Street. Management tried to solve the situation with sound proofing and repositioning the band but in the end the venue proved to be unviable for full on rock bands.

The highlight gig for Constable Green and Moore during its first year together was arguably the Rock Fest ’78 charity concert at UNE’s Great Hall (15 Sept.). Together with The Inmates and Patterson’s Curse, the trio supported the Melbourne ‘alternative/ pseudo-feminist’ band Stiletto (featuring singer/actress Jane Clifton). In addition to regular gigs at the leading Armidale venues (Impies and the Union Bistro) Constable Green and Moore also began to score support gigs at the Great Hall with high profile interstate bands like The Angels (25 May 1979) and Rose Tattoo (1 Nov. 1979) and at the Armidale Town Hall (with Sherbert).

Constable, Green, Moore and Brazel playing a Sunday afternoon gig at the Armidale Teacher’s College amphitheatre in 1980.

By late 1979/early 1980 the band became Constable, Green, Moore and Brazel, with the  ddition of keyboard player Chris Brazel. The band is believed to have called it quits sometime in 1980, with Constable and Moore moving to Sydney where they co-founded The Chooks with former Kelsey frontman/guitarist Bob Jones. Chris Green later moved to Sydney, too, and along with fellow Armidale musician Dick Rummery joined the short-lived Shooting School.  Green and Rummery also collaborated as recording duo – called Da Kaboodle. Constable, Green, Moore and Brazil have reformed several times for one-off gigs, including a fifteen year reunion in 1995 (see below).

Source: Brian Moore (telephone interview, Jan. 2010).  Images: Band photos and Armidale Express article courtesy of Brian Moore † • Angels/Constable Green and Moore poster courtesy of Brian Moore  †

CRASH LANDING

(1981-1982)

  • Personnel : Rod Clay (bass/vocals) ; Doiran James (lead guitar/drums/vocals) ; Ashley Carroll replacing Lindsay Johnson (drums) ; Jon Anderson (guitar/vocals). Guest musician : Dick Rummery

Crash Landing (named after a Jimi Hendrix album) formed in late 1981 following Rod Clay’s return to Armidale from Sydney (via a short stint in the Australian Army). Initially a duo the band became a trio following the recruitment of Blue-Mountain’s (NSW) drummer, Ashley Carroll, then a student at the University of New England. Jon Anderson joined the band mid-way through 1982 (although no one seems to recall how this happened). Crash Landing’s repertoire comprised an eclectic mix of acid rock, punk, hard rock, pop and Southern US boogie (courtesy of Carroll’s influence).

29 May 1982 (U.W.U and Womens Refuge)

The band began playing the Armidale party circuit, before eventually putting together its own gigs. One of the band’s more infamous shows was the last Puddledock Hall “party” (which saw the venue nearly burn down after being set on fire by several drunk “guests”). Another gig, held outdoors on a property just out of Armidale (Long Swamp Road) ended in the band setting fire to a motor bike (Clay’s).

Although Crash Landing recorded nearly two albums-worth of material (both covers and originals), nothing was ever released. Several songs were also recorded late in 1982 with Dick Rummery on drums. The band’s amicable demise came about the summer of 1981-82, a combination of university holidays and a desire to pursue new musical directions. Doiran James went on to form The Zip, while Anderson and Clay’s next project became Shoot the DJ

Source: Clay Djubal (2009). Images: Photos courtesy of Clay Djubal
Copyright for this image has either not been ascertained or we have been unable to locate the owner . If you are the copyright owner and want the image removed please contact this website. To see HGWT and the NTMIA’s copyright statement go to the “About the Northern Tablelands Music Industry Archive” page.

Northern Tablelands Music Industry Archive

Advertisements

 
%d bloggers like this: