Artists/Bands [D-G]

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



(ca. 1983-1984)

  • Personnel: Chris Green (guitars/bass/vocals ) ; Richard Rummery (keyboards/bass/guitars/vocals)
  • Also associated with the group: Jeff Stone (bass)

Da Kaboodle was essentially a writing and recording collaboration between Chris Green and Richard Rummery that coincided with their association with Shooting School and in the immediate period following that band’s distintegration. Da Kaboodle never played live. Both Rummery and Green were signed to the publishing company Castle Music and used their contract money to produce a number of songs. Rummery recalls, however, that while he had been approached with an offer to become a staff writer for Castle, he turned down the offer  preferring not to “sell out.”  He further writes: “Our plan was to write a bunch of songs and be a studio duo act (we’ve got the lot! was our motto). But we were being experimental too, and not so much trying to rite formula songs for the publishing company. We were lucky to [eventually] get out of the deal.”

All the songs were written in the Castle Music studio. These include “So Hot,” “Ring Jehovah,”  “back to You” and “More Than You Know.” The latter two were later re-recorded in a Darlinghurst (Sydney) studio owned by Gangagang‘s keyboardist Geoff Stapleton. For these sessions Green and Rummery brought in former Shooting School bassist Jeff Stone. Rummery notes that the while the demo songs “are not polished songs by any means, some [do] show potential.

Source: Richard Rummery (correspondence, Nov. 2010)



(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).



aka Darrell Mitchell

  • Bands incl. Doll Q ; Guerilla
  • Also associated with Shoot the DJ


A competent drummer, if somewhat erratic at times, Dirty Dan was well-known within the Armidale/Uralla music scene, and established a reputation as one of the real characters of the local industry. Originally from Geelong (Victoria), his parents moved to the Uralla/Rocky River district in the 1960s. It is believed that he first began playing drums sometime during the early to mid-1970s.

Between 1975 and 1979 Dan lived a commune-style existence at the Old Rockvale Pub, and as a drummer played a pivotal part in the jams and musical happenings that occurred there on a frequent basis during that time. In 1978 one or more members of Armidale punk band The Inmates also lived at the ‘Pub.’ Dan later played in Doll Q with that band’s guitarist Preston Stahlut. In 1983 he also filled in for Shoot the DJ drummer Ian Mitchell for a memorable gig at the Uralla Golf Club.

From the early 1980s Dan has lived a largely hermit-like existence, first out at Rocky River where he lived in a caravan for many years. He later moved to the Kingstown district, some 40-50 west of Uralla where he lives on 40 acres near the Macdonald River.

Source: Jon Anderson (telephone interview, Apr. 2010) •  Clay Djubal (2010)



(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 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 convener 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. He has also contributed an article on the Nat Phillips Collection for 100 Treasures of the Fryer Library, which will be published as part of the University of Queensland’s centenary celebrations 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)
Source: Abstract derived from AustLit: The Australian Literature Resource – online Images: Photos courtesy of Clay Djubal.



(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 (correspondence, 2009).



(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 Allniters. Jon Anderson later played in several Armidale-based bands, including Shoot the DJ and  Helga and the Blitzkrieg, while Bruce Jones and Peter Kerr went on to play together in Kordz.

Source: Jon Anderson (correspondence, 2009) • Clay Djubal (2009).



(ca.  1979)

  • Personnel: John Dodd Paul Dushlack (guitar) ; John IserMick PorterJenny [*] (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 Canadian legend, Neil Young. Although based in Armidale the band mostly played throughout the Northern Tablelands and other nearby regions – touring 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, Mitchell further 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 (correspondence, Mar. 2010).



(ca. 1965-1969)

  • Personnel incl. Bobb Hobbs (drums) ;  John Marshall (bass) ; Brian Mosley (keyboards) ; Larry ‘Snowy’ Townsend (lead guitar) ; Geoff Walsh (drums)

An Armidale-based outfit which formed in the mid 1960s and, along with Firebirds and later Mantra, was one of the leading local rock bands of that era. The original line-up comprised ‘Snowy’ Townsend, Bob Hobbs, Johnny Marshall and Brian Mosley. Finx competed in three Hoadley Battle of the Sounds competitions (1967-69), winning at least one of the Armidale heats (1968) and possibly another. Geoff Walsh later joined the band on drums when Bob Hobbs was conscripted into the Vietnam War.

Tony Jaggers, who often roadied  for the band (even though playing in his own bands during the same period) recalls that John Marshall’s bass bin (with 8×12″ Vase speakers) was too big for any of the vehicles owned by the band. Fortunately Jaggers was able to borrow his father’s new Falcon S/W to transport the bin  and other equipment . This arrangement eventually ended, however, when he drove into flock of galahs on the way to a gig in Gunnedah.

Source: Tony Jaggers (correspondence, Nov. 2010).




Fireband (ca. 1973)

  • Personnel: Brad Dunham (vocals), Trevor Day (bass) ; Robert Jones (keyboards/guitar/vocals) ; John Nurse (drums) ; Neil “Nobby” Osborne (guitar)

Comprising several school friends from De La Salle College, Fireband formed in  late 1973 or early 1974. Brad Dunham and Bob Jones, who had played together previously in Purple Haze, provided most of the vocals for the band.  Neil Osborne, who was then at the start of his teacher training, came on board as his previous band Sundown had recently broken up.

Although only short-lived, the band played regular gigs at the Armidale Teachers’ College Gym. One highlight was playing support to New Zealand band Dragon. Neil Osborne recalls that they also organised some of their own gigs.

After Fireband disbanded Bob Jones went on to form Kelsey with Purple Haze drummer, Lanky Moore. Trevor Day later moved to Duranbah on the the Northern NSW coast (near Kingscliff) where he established himself with the band Shearwater. In 1975 Nobby Osborne also joined that group after having played with Armidale band Mantra during its final six months (1974).

Playing a Dracula Night
Sources: Brian Moore (correspondence, Nov. 2010) • Neil Osborne (correspondence, Nov. 2010; Jan. 2011). Images: Courtesy of Neil Osborne




  • Bands incl. Aleph ; Amberlove ; Bogislav.

Guitarist, producer, songwriter.

While studying at the University of New England, where he graduated with a B.A., David Froggatt became a founding member of the hard rock/blues band, Bogislav, between 1970 and 1972. After establishing a formidable reputation in Armidale the band toured throughout the Northern Tablelands and further afield to  towns like Tamworth. While heavily influenced by heavy rock and blues acts like Cream, Led Zeppelin, Traffic, John Mayall’s Bluesbreakers and Deep Purple , Bogislav also played classic songs from the era by bands like the Rolling Stones, Chicago and Santana.  In 1972 the band made it all the way to the NSW State finals of the national Hoadley Battle of the Sounds competition (coming second to Sherbet, which went on to win the national finals).

L-R: David Froggatt, Don Walker, Ron Carpenter, Tim Crozier (seated), Dave Highet.

When Bogislav broke up in late 1972, Froggatt, Ron Carpenter and Dave Highet went on to form Aleph,  one of the most popular Northern NSW touring bands of the mid-late 1970s. Initially based out of Sydney (ca. 1974),  Aleph started out as a six-piece art rock band which performed an all original repertoire. In this respect the band, along with Sebastian Hardie, helped pioneer the art/prog rock  genre in Australia. At the end of 1974 Aleph recorded six songs at Sydney’s Albert’s Studios, and these were later released as the album  Surface Tension. The band toured constantly over the next few years but eventually ran up a significant debts, much of it incurred by the custom ‘white’ PA system it had built for it. By 1979 Aleph had relocated to Lismore, in Northern NSW and eventually whittled down to a trio which also played covers.

With Aleph (fourth from left)

It's Not Cricket (1984)

After Aleph finally called it a day Froggatt gradually moved into production. Over the course of his career as a producer he has overseen the recording more than 25 platinum-selling albums, with at least nine having gone to the No 1 position on the Australian charts. He is perhaps best known as the producer and collaborator with impersonator Billy Birmingham on the 12th Man comedy albums. The first LP, It’s Just Not Cricket (1984) was a smash hit, as were the next five (all six went to #1). The 12th Man sees Birmingham present  a series of extended satiric narratives purporting to offer a behind-the-scenes look at the Nine Network’s broadcasts of international cricket). Among the most popular spoofs are those targeting commentators Richie Benaud, Bill Lawry and Tony Greig. Birmingham traditionally plays all the roles, outsourcing a handful of female characters to different actresses. Dave Frogget also provided occasional voices, along with production, recording and musical accompaniment. One of Birmingham’s biggest hits was the comedy song “Marvellous” (1992). Co-written with Froggat, the original version includes backing vocals from Jimmy Barnes, John Farnham, Diesel and Glen Shorrock. It became a hit again in 2006 (with vocals on this version by Jimmy Barnes, Diesel and Mahalia Barnes).

Froggman (2004)

As a songwriter Froggatt has had success with several songs, including ‘Walk Together” (co-written with Brent Thomas) which was performed by the Little River band (you can hear the song on the band’s Live Classics LP) and released the song “Double Sunday” for Serenity the Cloud.  He also wrote and recorded the soundtrack for the animated film Froggman (2004).

Among David Froggatt’s other recordings as a producer are The Tin Lids 1983 LP Dinosaur Dreaming (an album made by the children of Cold Chisel frontman Jimmy Barnes). He has also produced recordings for Vic Davies (aka Sik Vic) and Crash Palace (2001),  and also provides guitar for recordings by Amberlove, an alternative/ indie/pop band fronted by his daughter Katherine Froggatt.  You can hear him, too, providing whistling and kookabuura sounds on the 2003 album Hand Over Your Loved Ones by Wheatus (a New York-based alternative rock band, Wheatus featured Katherine Froggatt on backing vocals).

  • To hear songs by Dave Froggatt visit his MySpace page Froggman.
  • To hear songs by Amberlove (featuring Dave Froggatt) visit the band’s MySpace page amberlovemusic.
  • Froggman (the soundtrack) is available through CDBaby.
Sources: “Aleph” ( • Ron Carpenter ( article, 2006) • Tim Crozier “Bogislav” entry (Newcastle Bands Database – online) • Chris Hales (correspondence, 2010 – thanks Brian Moore). Images: Aleph photo (from Surface Tension) sourced from† • Bogislav image courtesy of Tim Crozier “Bogislav” (Newcastle Bands Database – online)



(1960 – )

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


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 a squat at 72 Darling Street, situated in the inner city suburb of Glebe (the house didn’t even have a roof when he first moved in).

Grigg met his future V Spy V Spy compatriots, Michael Weiley and Craig Bloxom in 1980 through  through former Armidale singer Simon Morgan (he had been their lead singer in the short-lived R.A.F.). Weiley and Bloxom soon afterwards moved in to the Darling Street squat and with Grigg formed Spy V Spy (later changed to v Spy v Spy to avoid copyright infringement with the Mad Magazine cartoon). The trio remained in the squat until forced out in 1987.

Following their first gig at the Sussex Hotel V Spy V Spy soon 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. After signed with Midnight Oil’s manager Gary Morris the band released the mini-album Meet Us Inside on the Oils’ label Powderworks.  Their debut album Harry’s Reasons was produced in 1986 and included  “Injustice” (about the plight of Australia’s aboriginal communities) and the title track “Harry’s Reasons”, a song about drug addiction (‘Harry’ being a euphemism for heroin).

While Harry Reasons didn’t make much impression on the charts, the Spys’ live shows were gaining them an increasing audience. The band also gained national exposure through regular supports to high profile acts like Midnight Oil and INXS, which helped send its 1987 release  A.O. Mod. TV Vers platinum.  That album, released on the WEA label, also produced three politically focused singles which firmly established the Spys’ credentials as a socially conscious voice in Australian popular music. These singles were “Don’t Tear it Down” inspired by the NSW Department of Main Roads decision to demolish the Darling Street squats (it became the Spy’s most successful single); “Sallie-Anne'” about murdered prostitute/whistleblower Sallie-Anne Huckstepp; and “Credit Cards” a commentary on consumerism and mounting individual debt.

The follow-up release, Xenophobia (Why?) was similarly successful despite being recorded in six weeks (due to pressure from WEA). Another three singles were released, including “Forget About the Working Week”  (with the B-side “Flares” being a ‘collaboration’ with DJ Todsom Smarm from 2SM).  Around this time the Spy’s also began performing small gigs in Sydney for their fans under the name The Drug Grannies. Grigg’s final album with the band, 1989s Trash the Planet was recorded in England at Richard Branson’s Manor House studios. Well-received by critics it reached #22 on the Australian charts, but Grigg is said to have been disappointed in the sound of his drums on the record. Not long afterwards he left, causing Bloxom and Weiley to take a break while they searched for another drummer. Grigg’s later musical projects have included performing with the bands Mixed Relations (as guest percussionist) and Brainspeak.

The decision to leave V Spy V Spy was also possibly due in part to a chance meeting with Brett Whiteley. The renowned artist told Grigg 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 he 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
Sources: Robyn Goldsmith (correspondence) • Steve Grigg (correspondence, 2008) • Soho Galleries, Sydney – Cliff Grigg Exhibition (online) • Les Tough (Glebe Society Bulletin) • V Spy V Spy website . Images: Cliff Grigg photos courtesy of Heather Grigg • Top right photo courtesy of  V Spy V Spy/Powderworks (from Meet us Inside)† • Bottom left photo by Tim Bauer, courtesy of V Spy V Spy/WEA (“Clear Skies” single).



  • 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) ; Richard ‘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 either out of town or on the verandah of the Stahluts’ home (opposite Armidale High School). The favourite place to jam was at Brian McCully’s rented house on the property, Warrane, situated well out of Armidale on the Boorolong Road. One advantage of being in the country was that there were many more opportunities to play outside rather than being stuck inside studios (and no noise issues or worries about the police). 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 S1) and Brian McCully (playing his own drums)
Source: Clay Djubal (2009). Image:  Photo courtesy of Heather Grigg.

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Northern Tablelands Music Industry Archive

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