Artists/Bands [F-G]
NB: If an individual’s Christian or surname is currently unknown this is indicated by an asterisk placed between brackets [*].
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 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 New South Wales 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 University of New England 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 Bachelors’ and Spinsters’ Balls (B&S Balls). 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).
FINX
(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
(1973)
Fireband, ca. 1973
- Personnel: Brad Dunham (vocals) ▪ Trevor Day (bass) ▪ Robert (Bob) 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 New South Wales 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 †
FIREBIRDS
DAVID FROGGATT
- Bands incl. Aleph ▪ Amberlove ▪ Bogislav
- Also associated with the 12th Man (Billy Birmingham) ▪ The Tin Lids ▪ Amberlove
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 New South Wales 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 New South Wales touring bands of the mid to 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 bands like Tamam Shud, Spectrum, Ayers Rock, and 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 New South Wales 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 comedian and 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 featuring 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” (alexgitlin.com) • Ron Carpenter (buoy.com 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 alexgitlin.com.† • Bogislav image courtesy of Tim Crozier “Bogislav” (Newcastle Bands Database – online)
GENERATION
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 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 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 the 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 includes “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 Spy’s 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 New South wales 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 spoof-collaboration with radio DJ Todsom Smarm (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.
- Discography[pdf]
For further information on V Spy V Spy see:
- On the Street – 16 Mar. 1988 (page 1) • On the Street – 16 Mar. 1988 (page 3, interview) [PDF]
- Glebe Society Bulletin letter – 2008[PDF] Wes Tough letter re: the Spys’ Darling Street squats.
- myspace.com/vspyvspy v Spy v Spy website. Website includes video clips from many of the bands releases.
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).
GUERILLA
(1978-79)
- Incl. Rod Clay (vocals/guitar/bass/drums) ▪ Pat Cuskelly (keyboards) ▪ Dirty Dan [above] (drums) ▪ Doiran James (vocals/drums/guitar) ▪ Brian McCully (drums) ▪ David Morris (vocals/guitar/bass) ▪ Richard Rummery (vocals/guitar/bass/keyboards) ▪ Preston Stahlut (vocals/guitar/bass) ▪ Richard ‘Dog’ Stanley (guitar) ▪ Malcolm Toft (sax/vocals)
Guerilla was never an established band, but rather a “jam collective” that came together at irregular (though not infrequent) intervals from roughly late-1978 to mid-1979. The name, Guerilla, was only loosely applied 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 on the verandah of Preston Stahluts’ family home at 196 Miller Street (adjacent to the back of Armidale High School), or 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 a house (and no noise issues or uninvited vistits from the police), and hence it became the collective’s favourite place to meet. The sessions would involve playing songs that most people knew – with the Rolling Stones, Led Zeppelin, The Who, Deep Purple, Canned Heat, Jimi Hendrix, Cream, The Beatles, Billy Thorpe and the Aztecs, 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 spontaneous and often lengthy jams.
Rod Clay (playing Dog Stanley’s Gibson S1) and Brian McCully (playing his own drums)
Have Gravity Will Threaten 