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Australian Pop Music TV Archive 11
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Goanna - Solid Rock
One of ERF the Worms Favourite Aussie Songs of All Time
" Aussie Band Goanna's amazing spiritual Rock Song SOLID ROCK brings an important to everyone .. a must listen to by all..." ERF the Worm
Another One of ERF the Worms Favourite Aussie Songs of All Time
" Aussie Band Yothu Yindi's amazing spiritual Rock Song SOLID ROCK brings an important message to everyone .. a must listen to by all..." ERF the Worm
In 1990, Barnes recorded his fourth studio album, which featured songwriting contributions from the likes of Desmond Child, Diane Warren and Holly Knight. Two Fires, released in August 1990. debuted at number one on the Australian chart. The album featured the top-twenty singles "Lay Down Your Guns", "Let's Make it Last All Night" and "When Your Love is Gone".
In November 1991, Barnes released his fifth studio album, Soul Deep, an album of soul covers. Barnes had long fostered a love for soul and for black music, naming his children after influential black artists and including songs by Sam Cooke and Percy Sledge on previous albums.[citation needed] Soul Deep became Barnes's sixth Australian number-one album and included the track "When Something Is Wrong with My Baby" with John Farnham.
In March 1993, Barnes released Heat, which was influenced by the then-current grunge trend and by the music of the Red Hot Chili Peppers.
Heat peaked at number two on the ARIA charts, becoming Barnes's first solo album not to peak at number one. The album contained the song "Stone Cold", written by former Cold Chisel bandmate Don Walker. It marked the first time Jimmy Barnes had worked with any member of his old band for almost a decade. The pair teamed up for an acoustic version of the track for an unplugged album Flesh and Wood, which was released in December 1993 and peaked at number two. The album included a version, recorded with The Badloves, of The Band's "The Weight", which became a top-ten hit. Also in 1993, Barnes teamed up with Tina Turner for a duet version of "The Best" in the form of a TV promotion for rugby league's Winfield Cup. The single also reached the top ten in 1993.
In the mid-1990s, Barnes's career suffered a slump. He faced financial ruin as his music-publishing company Dirty Sheet Music and his wife's children's fashion label both went broke. He was pursued both by the ANZ Bank and by the Australian Taxation Office for amounts exceeding $1.3 million. The family sold their property in Bowral, New South Wales, and settled for some time in Aix-en-Provence, France, attracting some adverse publicity when Barnes assaulted a television crew from Channel 7.[17] While there, Barnes did considerable live work throughout Britain and toured with the Rolling Stones.[citation needed]
In June 1995, Barnes released his eighth studio album, Psyclone, which peaked at number 2 in Australia and featured the top-twenty single "Change of Heart".
In September 1996, Barnes released "Lover Lover", which peaked at number 6 on the singles chart. This was followed in October 1996 with Barnes's first greatest-hits compilation, Barnes Hits Anthology, which became Barnes's seventh solo number-one album.
In 1998, Cold Chisel reformed and Barnes returned to Australia with his family after three years in France.[18] In March 1999 Barnes performed the 1978 Sylvester hit "You Make Me Feel (Mighty Real)" live onstage at the Sydney Gay and Lesbian Mardi Gras annual party.
Later that year Barnes released the heavy-rock single "Love and Hate", followed by its parent album Love and Fear. An autobiographical record combining hard rock with electronic music, Love and Fear was Barnes's first album to miss the Australian top ten, peaking at number 22.
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HALCYON DAZE - (a wee taste of what's to come!) (2013) - part 1 of 2
The Irish-Aussie Band Halcyon Daze Featured in the filming of the Pilot of the Australian Fringe Shows Have Talent TV Show Filmed in Edinburgh in 2011
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Jimmy Barnes, Australia's Working Class Man | National Film and Sound Archive of Australia
Jimmy Barnes, Australia's Working Class Man | National Film and Sound Archive of Australia
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- JIMMY BARNES, AUSTRALIA'S WORKING CLASS MAN
Australia's Working Class Man, Jimmy Barnes, has been performing in front of audiences for more than four decades as a solo artist and with Cold Chisel, and he shows no signs of slowing down.
He has been hailed by some as Australia's greatest rock singer and to say he's a national icon would be an understatement. His days fronting Cold Chisel and his early solo career provided the soundtrack for a generation.
So much has been said and written about Barnes' heady rock'n'roll lifestyle, including by the man himself in two bestselling memoirs, that it has become part of the fabric of the Australian music industry. But behind the legend is one of the hardest working and most dedicated entertainers this country has ever produced. He is also a proud family man, humble philanthropist and humanitarian.
The NFSA is shining a light on the phenomenal career of Jimmy Barnes with rarely-seen interviews, live performances, posters, photographs and oral history interviews in this curated collection.
- HOME
- COLLECTION
- CURATED COLLECTIONS
- JIMMY BARNES, AUSTRALIA'S WORKING CLASS MAN
Australia's Working Class Man, Jimmy Barnes, has been performing in front of audiences for more than four decades as a solo artist and with Cold Chisel, and he shows no signs of slowing down.
He has been hailed by some as Australia's greatest rock singer and to say he's a national icon would be an understatement. His days fronting Cold Chisel and his early solo career provided the soundtrack for a generation.
So much has been said and written about Barnes' heady rock'n'roll lifestyle, including by the man himself in two bestselling memoirs, that it has become part of the fabric of the Australian music industry. But behind the legend is one of the hardest working and most dedicated entertainers this country has ever produced. He is also a proud family man, humble philanthropist and humanitarian.
The NFSA is shining a light on the phenomenal career of Jimmy Barnes with rarely-seen interviews, live performances, posters, photographs and oral history interviews in this curated collection.
- HOME
- COLLECTION
- CURATED COLLECTIONS
- JIMMY BARNES, AUSTRALIA'S WORKING CLASS MAN
Joe Cocker - A Whiter Shade Of Pale - Classic Version of A Whiter Shade Of Pale by Joe Cocker which was a massive hit in Australia
Australia's Working Class Man, Jimmy Barnes, has been performing in front of audiences for more than four decades as a solo artist and with Cold Chisel, and he shows no signs of slowing down.
He has been hailed by some as Australia's greatest rock singer and to say he's a national icon would be an understatement. His days fronting Cold Chisel and his early solo career provided the soundtrack for a generation.
So much has been said and written about Barnes' heady rock'n'roll lifestyle, including by the man himself in two bestselling memoirs, that it has become part of the fabric of the Australian music industry. But behind the legend is one of the hardest working and most dedicated entertainers this country has ever produced. He is also a proud family man, humble philanthropist and humanitarian.
The NFSA is shining a light on the phenomenal career of Jimmy Barnes with rarely-seen interviews, live performances, posters, photographs and oral history interviews in this curated collection.
Channel Nine reporter Mike Munro interviews Jimmy Barnes about his early years in Glasgow and migrating to Australia as a young child.
After a brief discussion about his working-class background, the clip transitions into showing footage of Cold Chisel's infamous destructive performance at the 1981 Countdown Awards. The clip seems to pair working-class people with violence, which is an unflattering and unfair conjoining of ideas and images.
The use of early black-and-white photos of Jimmy as a child provides a delightful biographical note and successfully accompanies his memories of growing up in South Australia. The interview is very natural and informal, and a pleasure to watch.
In August 1980 Jimmy Barnes was one of many singers and musicians to take part in the Andrew Durant Memorial Concert held at the Palais Theatre, St Kilda in Melbourne.
Durant was a musician and songwriter for the Australian rock group Stars. He died of cancer-related illness in May 1980, aged 25. Proceeds from the live album of the concert went to the Andrew Durant Cancer Research Foundation.
In this excerpt from the concert, Jimmy Barnes performs the Stars' track 'Last Of The Riverboats' with Durant's fellow band member Mick Pealing.
This is a fairly standard multi-camera shoot of a live musical performance. The vision and sound quality are excellent. If anything, it lacks cutaways to the crowd enjoying the performance which would have added to the feeling of community and support for what is essentially a benefit concert.
In August 1980 Jimmy Barnes was one of many singers and musicians to take part in the Andrew Durant Memorial Concert held at the Palais Theatre, St Kilda in Melbourne.
Durant was a musician and songwriter for the Australian rock group Stars. He died of cancer-related illness in May 1980, aged 25. Proceeds from the live album of the concert went to the Andrew Durant Cancer Research Foundation.
In this excerpt from the concert, Jimmy Barnes performs the Stars' track 'Last Of The Riverboats' with Durant's fellow band member Mick Pealing.
This is a fairly standard multi-camera shoot of a live musical performance. The vision and sound quality are excellent. If anything, it lacks cutaways to the crowd enjoying the performance which would have added to the feeling of community and support for what is essentially a benefit concert.
In August 1980 Jimmy Barnes was one of many singers and musicians to take part in the Andrew Durant Memorial Concert held at the Palais Theatre, St Kilda in Melbourne.
Durant was a musician and songwriter for the Australian rock group Stars. He died of cancer-related illness in May 1980, aged 25. Proceeds from the live album of the concert went to the Andrew Durant Cancer Research Foundation.
In this excerpt from the concert, Jimmy Barnes performs the Stars' track 'Last Of The Riverboats' with Durant's fellow band member Mick Pealing.
This is a fairly standard multi-camera shoot of a live musical performance. The vision and sound quality are excellent. If anything, it lacks cutaways to the crowd enjoying the performance which would have added to the feeling of community and support for what is essentially a benefit concert.
A candid behind-the-scenes interview with Jimmy Barnes at one of the Australian Made concerts in summer 1986–87.
In a casual conversation while filming scenes for Australian Made, Troy Davies talks to Jimmy about life in Glasgow, his experiences in America and finding success as a solo artist in Australia after the Chisel years. Jimmy seems in a relaxed mood as he answers questions on a broad range of topics and talks about preparing for his performance later in the evening.
These informal and casual interviews, rather than the formal media he's had to do over the years, seem to capture more of the authenticity of Barnes. An unpretentious musician, he's not one for wanting to appear as a rock star. It's a quality that Australian audiences have connected with, and admired him for, over many decades.
Interviews like this are refreshing as they seem more like a conversation that we are eavesdropping on. The hand-held camera in this clip is all over the place and the audio is not the best quality, but it gives a real sense of being backstage at a large concert listening to an Australian musical icon. It's a very fresh and engaging piece of footage.
Jimmy Barnes talks about going back to his roots as a soul singer, discussing some of his earliest memories of listening to Mahalia Jackson, Ray Charles and Nat King Cole as a child.
The clip opens with Jimmy's black-and-white music video for 'Ain't No Mountain High Enough', a song made famous by Marvin Gaye, which evokes a 1960s music TV show performance. The clip then cuts to him driving somewhere in the US talking about his early influences.
Driving implies he's heading somewhere – in this case, back to the roots of his musical taste. It's a very casual monologue which always seems to suit Jimmy well as he comes across at his most natural and reflective; filming it in this way is a good choice by the director. It also places us directly in the passenger seat as if we're with him on this journey and he's sharing his insights only with us, making for a very personal moment.
In this excerpt from Soul Deeper: Songs From The South Jimmy's band members talk about what a great soul singer he is.
This is an intriguing montage of interviews and behind-the-scenes footage of the recording of Jimmy's album. The mix of colour and black-and-white references the legacy of the songs he chose to record and works well to telegraph the message that he is drawing upon a history of soul music extending back to the 1950s and '60s. It has the clever effect of placing him within that lineage.
It is also interesting to hear his American session musicians talk about him in such glowing terms. While he is appreciated at home in Australia, this segment leads us to ask ourselves if he's even more talented than we thought. And who cannot enjoy hearing back-up singer Sweat Pea Atkinson say, 'The man is a demon'!
Still image of Jimmy Barnes performing on stage in one of the concerts from the Australian Made tour in 1986.
While not as iconic as the well known 'Last Stand' image of Jimmy from Cold Chisel's 1983 tour, this is still a good concert photo showing him characteristically growling into the microphone.
You can almost hear him and his energy as a live performer leaps out of the image. It's also a joyous and honest photo, capturing a singer who clearly loves to perform.
In this excerpt from Soul Deeper: Songs From The South Jimmy's band members talk about what a great soul singer he is.
This is an intriguing montage of interviews and behind-the-scenes footage of the recording of Jimmy's album. The mix of colour and black-and-white references the legacy of the songs he chose to record and works well to telegraph the message that he is drawing upon a history of soul music extending back to the 1950s and '60s. It has the clever effect of placing him within that lineage.
It is also interesting to hear his American session musicians talk about him in such glowing terms. While he is appreciated at home in Australia, this segment leads us to ask ourselves if he's even more talented than we thought. And who cannot enjoy hearing back-up singer Sweat Pea Atkinson say, 'The man is a demon'!
In this excerpt from Soul Deeper: Songs From The South Jimmy's band members talk about what a great soul singer he is.
This is an intriguing montage of interviews and behind-the-scenes footage of the recording of Jimmy's album. The mix of colour and black-and-white references the legacy of the songs he chose to record and works well to telegraph the message that he is drawing upon a history of soul music extending back to the 1950s and '60s. It has the clever effect of placing him within that lineage.
It is also interesting to hear his American session musicians talk about him in such glowing terms. While he is appreciated at home in Australia, this segment leads us to ask ourselves if he's even more talented than we thought. And who cannot enjoy hearing back-up singer Sweat Pea Atkinson say, 'The man is a demon'!
Bob Dylan - Gotta Serve Somebody
Dar Williams - THE TIDE FALLS AWAY -
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AustralianMusicmusicArchive2
Light My Fire -The Doors Live- Extended Version 13 minutes long
Australian Music Archives 3
Rare Interview With Jim Morrison of the Doors ( now deceased)
and more
AustralianMusicmusicArchive4
Rare Interview with Keith Richards of the Rolling Stones talking about the sudden death of Jim Morrison of the Doors
Mick Jagger Does Steven Tyler Comedy Act and much more
Australian Music Archives 5
Mick Jagger - 79 Years Old running around the stage during a Rolling Stones Concert
Rolling Stones singing I Miss You
2022 Berlin. Germany
Rolling Stones- I Can't Get No Satisfaction - Live Hamilton Last Show Tour
Australian Music Archives 6
Rolling Stones Singing - She' So Cold
Australian Music Archives 7
It's Only Rock'n Roll - Live
Australian Music Archives 8
Rolling Stones - It's Only Rock'n Roll - Glastonbury
Australian Music Archives 9
Led Zeppelin - Black Dog - Live At Madison Square Gardens 1973
Australian Music Music Archives 10
Led Zeppelin 1972 Immigrant Song
Cold Chisel | National Film and Sound Archive of Australia
Protest and Play at 1970s Music Festivals | National Film and Sound Archive of Australia
https://www.nfsa.gov.au/
The iconic Sunbury Pop Festival was first held over the 1972 Australia Day long weekend on a private farm just outside of Melbourne. Captured by John Dixon and Ray Wagstaff in the documentary Sunbury ’72, this clip shows Billy Thorpe and the Aztecs at their rocking peak:
Billy Thorpe and the Aztecs perform ‘Ooh Poo Pah Doo’ at the Sunbury Pop Festival '72, 1972. NFSA title: 285305
COUNTERCULTURE
The 1973 Aquarius Arts Festival, held in the Northern New South Wales town of Nimbin, was a 10-day coming together of countercultural ideas, workshops and performances. Performing in this clip, shot by Sam Meredith, are the Bauls of Bengal, led by Purna Das Baul Samrat:
Bauls of Bengal perform at the Nimbin Aquarius Arts Festival, 1973. NFSA title: 39635
DOCUMENTING THE SCENE
The Great Australian Rock Festival, Sunbury '73. Mushroom Records, 1973. NFSA title: 571173
The audiovisual legacy of these festivals is an eclectic collection of documentaries, television specials, experimental films, home movies and sound recordings.
Some festivals are well documented, and the enduring legacy of festivals such as the Sunbury Pop Festival has been enhanced by a documentary covering the 1972 festival, a televised special of the 1973 iteration and a live album from the same year which was the inaugural album release for iconic Australian record label Mushroom Records.
Restoring Eagle Rock | National Film and Sound Archive of Australia
RESTORING EAGLE ROCK
A rarely-seen experimental colourised version of Daddy Cool’s film clip for 'Eagle Rock' has been found and restored by the NFSA.
The NFSA Unearths Rare Led Zeppelin interview | National Film and Sound Archive of Australia
https://www.nfsa.gov.au/
'LOST' INTERVIEW DISCOVERED
Graeme Berry had indeed struck gold with this interview. However, as the years passed, the audio tape it was recorded on disappeared. Bernard MacMahon, director and producer of the band’s first authorised documentary, Becoming Led Zeppelin (2021), had heard a bootleg recording on vinyl and knew he had to find it.
MacMahon spent a year searching and, recognising Berry’s Australian accent, contacted the NFSA in 2019.
Researchers were initially unable to find the interview in the collection. That’s when Sean Bridgeman, the NFSA's Access Services Manager, had a win. He reached out to the curatorial team, which was making its way through cataloguing around 8,000 tapes in the 2SM collection, many of which were unmarked or had no identifying information.
‘Curator Chris Arneil had coincidentally come across a tape marked Led Zeppelin: Robert Plant and John Bonham the week before', Sean Bridgeman says. ‘After digitising the tape and conducting research, we confirmed it was the hour-plus interview with John Bonham that Bernard MacMahon had been searching for.’
Watch a teaser clip from Becoming Led Zeppelin (Bernard MacMahon, 2021) released ahead of its premiere at the Venice Film Festival:
LILLIAN ROXON - MUSIC JOURNALIST, MOTHER OF ROCK
Dubbed 'the mother of rock', Lillian Roxon was the most influential rock journalist in the world from the mid-1960s to the early 1970s.
DAVID BOWIE ON THE DON LANE SHOW
David Bowie appeared on The Don Lane Show's final episode in 1983. It was, in his own words, the first talk show he ever did, and you can watch it here.
STRIKING LED ZEPPELIN GOLD
The NFSA has unearthed a rare interview with the late John Bonham from Led Zeppelin. The interview is a centrepiece of the new authorised documentary, Becoming Led Zeppelin.
WHEN BERRY MET BONHAM
Robert Plant (left) and John Bonham in 1975. Published under the Creative Commons Attribution-Share Alike 3.0 Unported licence.
It was early 1972 and Led Zeppelin had just released its fourth studio album, featuring the anthemic track 'Stairway to Heaven'. They were arguably the biggest rock band in the world, and preparing for an upcoming tour of Australia.
This is when Australian broadcaster Graeme Berry found himself at the home of Robert Plant. He was there to interview the British band’s lead singer, alongside legendary drummer John Bonham, for Sydney radio station 2SM.
Before his death in 1980, Bonham rarely gave interviews or spoke in public – and if he did, he wouldn't say much at all. But this time was different. ‘In the interview, he really opens up and engages with Berry … uncharacteristically, he seems very happy to talk’, NFSA curator Thorsten Kaeding explains.
‘They touch on many aspects of his career, as well as moments leading up to it … including how he started out in music, where his interests came from, and what he was doing before Led Zeppelin. For a documentary maker, it is absolute gold.’
An official teaser clip for the documentary Becoming Led Zeppelin (Bernard MacMahon, 2021).
OPENING UP TO THE WORLD
After the interview was rediscovered and digitised at the NFSA, it was loaned to the creators of Becoming Led Zeppelin and is a centrepiece of the documentary.
Led Zeppelin is arguably one of the most influential bands of all time, inspiring the hard rock movement of the 1970s that was extremely successful, particularly in Australia.
Becoming Led Zeppelin is the band’s first authorised documentary, and it premiered at the prestigious Venice Film Festival in September 2021 where it gained significant attention.
Thorsten Kaeding says the Bonham recording is a testament to Berry, and his brilliant interviewing skills. ‘It’s often forgotten how successful Australian DJs and music journalists have been internationally’, he says. ‘As with this interview, they were often able to get their subjects to open up in ways that others could not.’
The interview recording is also an important reminder of the work being undertaken to digitise content in the NFSA collection, as Sean Bridgeman explains.
‘There are many items in the collection that are "hidden" or undiscovered – in that we either don’t have enough catalogue information, or they have yet to be digitised. The interview was held only on the original ¼-inch magnetic audio tape, so it was essential we digitised the recording for preservation.
'Magnetic tape formats are at risk of further deterioration, preventing digital preservation, and this is why the NFSA is prioritising magnetic audiovisual formats for its Deadline 2025 project.’
Becoming Led Zeppelin is expected to be released in Australia in 2022.
Bon Scott Original Lead Singer of ACSC
What Really Happened On The Night Bon Scott Died?
Mystery surrounds Bon Scott's death to this day. Classic Rock looks back at Bon’s last hours, the underworld he moved in and the disappearance of the last man to see Bon alive...
Unless a person has suicidal tendencies, no one one can choose where he or she dies. Least of all if that person is a rock star with a hard-drinking, full-on party-animal lifestyle. But having said that, there’s something uniquely unnerving about the location of AC/DC frontman Bon Scott’s sad demise.
It’s an overcast day in early December 2004, and Classic Rock is making its way to a fateful setting: number 67 Overhill Road, in East Dulwich, South London. This is where Bon died, his body found abandoned in a Renault 5 car parked on the road just outside the address nearly 25 years ago.
We don’t plan to rubberneck the scene like a bunch of sickos ogling a motorway pile-up, we just felt that we had to check it out before we began to write this story. You can call us morbid if you like; we’ll just call it research.
It takes a while to get to East Dulwich from the centre of the city. You ride the Victoria-line tube to Brixton and hop on the single-decker P4 bus. You rumble through posh Dulwich Village, and the best part of half an hour later you alight outside the grim tenements of the Lordship Lane high-rise council estate.
You walk a little way up the street, turn left by the Harvester pub, and Overhill Road is the second turning on the right. The first thing you notice is a tatty building on the corner called the Rockbank Hotel, and you can’t help but raise a wry smile.
Number 67 is at the top of steep gradient. And it ain’t a pretty sight. It’s a dour, featureless block of flats penned in by ranks of bright-green wheelie bins. It could have been transplanted here direct from the Eastern bloc.
Milk and alcohol, Scott and Angus in London in 1976 (Image credit: Getty Images)
There’s a graffiti’d old ambulance parked directly outside the flats, which wipes that grin off your face straight away. To compound the irony, there’s even a Renault behind it (although admittedly it’s a Mégane, not a 5).
The trees that line Overhill Road are bare of leaves, but number 67’s front garden is a thriving jungle of roots, weeds and hawthorns. There’s litter all over the place. There’s a wheelbarrow in the corner that had once been full of white paint, but which is now all dried-out and crusty.
The only evidence of anything remotely rock’n’roll-related is a skateboard propped up in the porch of the house next door. Of Bon Scott’s heritage, there is not a sign.
But hang on a second… There’s a scratchy silver plaque attached to the front of number 67. Tiptoe up the path, look closely, and you can see a handful of scribbled tributes grouped around the legend ‘Flats 1-6’. The messages have been written in obvious haste:
‘To Bon, from Björn in Sweden’; ‘AC-Foxi-DC’; ‘Ronald and Frank from Germany – cheers’; ‘To Bon, Szmery from Poland.’
And that’s it. Nothing else, apart from the drone of an aircraft; the distant sound of schoolchildren playing; brambles rustling dryly.
Overhill Road must have changed substantially since 1980, the year of Bon’s death. Opposite number 67 is a big new apartment block called Dawson Heights that plainly wasn’t around two and a half decades ago.
The Asian proprietor of a nearby Londis store has been in the country for only three months. He expresses surprise when he hears that a top rock star popped his clogs just down the road. The shopkeeper says he doesn’t know of any local residents who would have been on the scene so many years ago.
Roles reversed, Angus takes Bon for a ride (Image credit: Getty Images)
A tradesman unloading a white van shrugs; he’s only making a delivery, and he actually comes from Bromley. He’s heard of AC/DC, but not of Bon Scott.
There’s no reply from pressing any of the door buzzers stuck on number 67’s front wall, just the empty hiss of the intercom, like static from a badly tuned radio.
You turn on your heels with an air of resignation and trudge back down the hill. Fine rain fills the air. As you grapple with your umbrella, you notice the silhouette of a bright-yellow dog stencilled on to the pavement. It’s accompanied by a warning to owners not to allow their pets to shit on the pavement: Bag It & Bin It.
Try as you might, you can’t prevent that wry smile returning to your lips: Bag It & Bin It? It sounds like a bleedin’ Bon Scott song title.
From Young Talent Time to Liberace | TV Tonight
From Young Talent Time to Liberace
Plucked from Y.T.T. to tour with Liberace, a young Denis Walter missed US success -but found it at home.
- Published by David Knox on June 5, 2014
-
Denis Walter was about 15 years old when he was introduced to musical virtuoso, Liberace, in the early 1970s.
Set to follow in the footsteps of boy wonder Jamie Redfern,Walter was the second Young Talent Time discovery destined for international greatness under the watch of Liberace.
But while Redfern went on to US television and touring with rave reviews, for Walter the outcome was another story.
“Jamie’s time was coming to an end and Liberace was touring Australia, so it was suggested by the Young Talent Time people, that he have a look at me and hear my voice. It was the novelty of the skinny, 15 year old with the big deep voice,” said Walter.
“So they set up a meeting after his concert at Festival Hall and he came to the Green Room Club on Queen’s Road. I sang 3 songs, one was Gentle on my Mind with Johnny Hawker Big Band. I think Jean was one of the others and Someplace Green
“There were about 20 people and he listened to me sing and there was all this excitement about me going to the States.”
Things went well at first. Walter went to Adelaide where he rehearsed with Liberace and his musical director.
“He was very well-mannered and very gentleman-like,” he recalls.
“But that was about all the time I spent with him.”
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Dennis Walter in 1974 Sung the Song Let Me Hold You Near written by Stephen Carew-Reid - Lindsay Hunt - Victor Zeil on Johnny Young's Australian Song Writing Contest which came second in Australia
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While he did get to America it seems timing was not on his side, with Mr. Showmanship busy touring at the time he arrived at the InterContinental in Los Angeles. While the prospects were well-intentioned, the isolating experience was a challenge for a young Aussie teen on his own.
“It wasn’t fully organised and I was over there on other people’s money. But there was no Green Card organised and when I got there, one of his staff picked me up and I was just sitting around twiddling my thumbs and getting homesick, with no prospect of working for 6 – 9 months,” he explains.
“We were down to arrangements, there was material organised, but I got the feeling from this end it wasn’t properly followed up.
“His manager’s kids had invited me to his (manager’s) house, but that was really the only social interaction while I was sitting around on my own in LA.”
Walter never got to meet Liberace in the US, nor visit the extravagant house replicated in the HBO telemovie Behind the Candelabra (Walter has only seen snippets of the movie).
He also says Liberace was entirely professional, never witness to any of the man’s sexuality now depicted in the movie starring Michael Douglas and Matt Damon.
“No, not in the slightest,” he says.
But while he has his memories, the pair never spoke again.
“It was a bit surreal because it was a chance to break internationally, but I was too young and too naïve to take it all in,” he admits.
“I never even got a photo with him!”
Fortunately Australia still had a heart for the kid with the deep voice, and Walter went on to enjoy a 40 year career in show business, performing around the country, including as a regular at Carols by Candelight, presenting WIN News for 16 years and currently fronting the Afternoons programme on 3AW where he has been since 2008.
Behind the Candelabra airs 8:30pm Sunday on Foxtel Masterpiece.
Jamie Redfern declined to be interviewed.
- Denis Walter Live on Young Talent Time
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By Denis Walter
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Type Album Released 1975 Genres Descriptors Language English - https://youtu.be/1gmgwx77osw?
feature=shared
Watch "A portrait of Toyota Country Music Festival in Tamworth told by Lee Kernaghan"
https://youtu.be/i2V_X62J8Ys?
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The Go!! Show | National Film and Sound Archive of Australia
- https://www.nfsa.gov.au/
collection/curated/go-show -
- HOME COLLECTION CURATED COLLECTIONS
- THE GO!! SHOW
REDISCOVER ‘AUSTRALIA’S SWINGIN’EST TEENAGE SHOW’Go!! helped launch the 0-10 television network in 1964 and was ‘Australia’s swingin’est teenage show’.
Go!! was ranked number 10 in the ’50 Top Moments’ of Network Ten’s 50 Years Young special which aired in August 2014, yet only one full episode has survived in its' entirety.
NFSA-ID: 1295085YEAR: 1966
Skippy the Bush Kangaroo – celebrating the hit 1960s TV show | National Film and Sound Archive of Australia
- CURATED COLLECTIONS
- SKIPPY THE BUSH KANGAROO – CELEBRATING THE HIT 1960S TV SHOW
'What's that, Skip? You've been an Australian icon for how long?!'.
The adventures of Sonny Hammond and Skippy the bush kangaroo in Waratah National Park in the late 1960s captured the country's imagination and showcased Australia to the world.
At its height, Skippy was screening in 128 countries to an audience of over 300 million people each week, extraordinary figures even by today's standards.
The actors who played Sonny (Garry Pankhurst), Head Ranger Matt Hammond (Ed Devereaux), Mark Hammond (Ken James), Clancy Merrick (Liza Goddard) and Flight Ranger Jerry King (Tony Bonner) were mobbed wherever they went.
This collection takes a fond look back at the original series of 91 episodes, made by Fauna Productions between 1966 and 1969, and spin-off movie Skippy and The Intruders (1969).
It features clips from the show and trailer for the movie, interviews with the cast, merchandise, music, parodies, advertisements, behind-the-scenes production materials and more.
For even more Skippy, visit our More Skippy curated collection.
https://www.nfsa.gov.au/
More Skippy the Bush Kangaroo – celebrating the hit 1960s TV show | National Film and Sound Archive of Australia
- CURATED COLLECTIONS
- MORE SKIPPY THE BUSH KANGAROO – CELEBRATING THE HIT 1960S TV SHOW
Even more collection items celebrating the 1960s adventures of Skippy and Sonny in Waratah National Park.
This second Skippy collection takes a fond look back at the original series of 91 episodes, made by Fauna Productions between 1966 and 1969, and spin-off movie Skippy and The Intruders (1969).
It features clips from the show and movie, interviews with cast and crew, merchandise, music, advertisements, behind-the-scenes materials, and clips from the 1990s series The Adventures of Skippy and animated Skippy Adventures in Bushtown.
https://www.nfsa.gov.au/
TV discoveries: Johnny O'Keefe, the Bee Gees and more | National Film and Sound Archive of Australia
Marking 60 years of Australian television in 2016, we've shared these rare treasures from the NFSA collection.
JO'K AND THE BEE GEES
From Sing Sing Sing (Episode 65, January 1964). Courtesy: Seven Network Australia and O’Keefe Family
This historic clip shows The Bee Gees backing Johnny O'Keefe on the Dave Clark Five's, 'Glad All Over'. The Bee Gees departed Australian shores in January 1967, only to return for the occasional concert tour. To find any unseen footage from their Australian teenage days is very rare. It was broadcast on ATN7 in January 1964.
Sing Sing Sing brought popular music to Australian teenagers. It was broadcast on Sydney’s ATN 7 from 1962 to 1965. The show was initially hosted by singer Lionel Long and was replaced after a year by the very popular Johnny O’Keefe. O’Keefe had been seen on Australian television screens on the ABC’s Six O’Clock Rock (1959-62) and Seven’s The Johnny O’Keefe Show (1961-62). See more rare Johnny O'Keefe material in our curated collection.
The NFSA discovered the content of this episode when the 16mm image and sound negatives were digitally scanned to ensure their preservation and availability for a contemporary audience.
MEETING IN THE MIDDLE
Meeting in the Middle was an innovative early Sunday evening chat show hosted by Canberra teenagers that ran for 26 weeks from 17 June 1979. Teenagers interviewed celebrities asking questions they devised themselves. The show was the brain child of Desmond Bishop, who ran the Canberra Children’s Television Workshop at CTC 7 (now Southern Cross Austereo), and aimed 'to bridge the generation gap'.
The first episode featured Shani Wood (Canberra Theatrical Entrepreneur and Coralie Wood’s daughter) interviewing legendary Australian actor Frank Thring. In this clip Shani starts the interview with, 'Today I will be talking to an actor who once seen is never forgotten', followed by, 'What do you get out of doing TV commercials?'. Thring's response is an emphatic, 'MONEY!'.
RAISING A HUSBAND
This quiz is Crawford Productions' earliest surviving TV program.
The show was broadcast on GTV 9 within months of the station’s opening on 19 January 1957. It was adapted from the successful radio series of the same name, which Alwyn Kurts hosted from its commencement in the late 1940s on Melbourne’s 3XY, a show which professed to find 'the most human husband'.
Johnny O'Keefe collection | National Film and Sound Archive of Australia
Relive the life and music of the Wild One - Australia's king of rock'n'roll, Johnny O'Keefe.
Watch rare television footage, listen to music clips and oral history interviews, and browse two immense scrapbooks that were lovingly compiled by Johnny’s mother Thelma from 1954 to 1965.
Only two episodes of the TV quiz were previously known to have survived; with the identification of this first episode, we now have three episodes.
BREADCRUMB
- HOME
- COLLECTION
- CURATED COLLECTIONS
- JOHNNY O'KEEFE COLLECTION
Relive the life and music of the Wild One - Australia's king of rock'n'roll, Johnny O'Keefe.
Watch rare television footage, listen to music clips and oral history interviews, and browse two immense scrapbooks that were lovingly compiled by Johnny’s mother Thelma from 1954 to 1965.
The many versions of Waltzing Matilda | National Film and Sound Archive of Australia
WALTZING MATILDA, COVERED
The entire history of Australian recorded music can be traced through versions of 'Waltzing Matilda'.
Just about every craze, fad and fashion in popular music has generated a recording of the song. This happened not only in Australia, but in some strange and wonderful versions from around the world.
There are versions in the popular styles of the 30s and 40s, jazz improvisations, classical and choral arrangements as well as those in the style of rock ‘n’ roll, broadway musicals, dance crazes such as the Twist, 80s big hair and lycra power ballads and some so truly strange that they defy categorisation.
1. John Collinson
The first recorded version of 'Waltzing Matilda', recorded in London in 1926, by John Collinson a tenor from Queensland with piano accompaniment. For no obvious reason they changed the melody a little for the chorus. It didn’t sell many copies, a fate shared by the next recorded version, by Colin Crane in 1930.
Broadcast (Deluxe Series) W573 NFSA title no. 283469
2. Peter Dawson
It wasn’t until Peter Dawson’s version in 1938, based on the arrangement by British musical examiner Thomas Wood, in 1938 that 'Matilda' became a hit, and other versions came thick and fast after that one.
HMV B8771
NFSA title no. 289629
3. Jack White and his Band
The years of the Second World War gave rise to numerous recordings of 'Waltzing Matilda'. Jack White was an English band leader who led the band at the Astoria Dance Salon in London from 1936 until 1957 who recorded the song as a slow Foxtrot for Regal Zonophone around 1940-41.
Regal Zonophone G24528
NFSA title no. 190904
Ref: www.turnipnet.com/mom/
7. Josh White
'Waltzing Matilda' became a popular song with foreign folk singers of various kinds in the 40s and 50s. Singers like Burl Ives, William Clausen, Harry Belafonte and the South African duo of Marias & Miranda all recorded versions as well as this blues tinged example by African-American singer and guitarist Josh White from 1951. White had originally recorded the song in 1944 for a set of discs sold only to American servicemen and then again in 1947 for a four disc album on Decca records.
London L1154
NFSA title no. 47152
8. South Australian Symphony Orchestra and the Adelaide Singers
Queen Elizabeth’s Royal Tour in 1954 was the occasion for this recording of the Thomas Wood arrangement performed by the South Australian Symphony Orchestra and the Adelaide Singers for a Royal Gala concert.
Philips A00591 L
NFSA title no. 302816
9. Massed Bands of the Australian Army
The 1956 Melbourne Olympics generated several recordings of 'Waltzing Matilda', including this one from the Massed Bands of the Australian Regular Army, conducted by Maj. RA Newman.
10. Gary Cohen
A popular entertainment in Australia during the 1950s was Square Dancing, and just about any song could be turned into a square dance call. Gary ‘Chuck’ Cohen, one of Australia’s top square dance callers of the period, recorded a version of 'Waltzing Matilda' on an album with the Noel Gilmour Quartet.
On ‘Square Dancing’- Columbia OEX9175
NFSA title no. 567978
11. George Trevare’s Jazz Group
Gearge Trevares was a trombonist and band leader during the 40s and this arrangement was recorded in Sydney in July 1945 as the B side to 'Back to Croajingolong'. The band was Wally Norman (trumpet), George Trevare (trombone), Rolph Pommer (saxophone), Pat Lynch (piano), Morgan McGree (guitar), Horrie Bissell (bass), Al Vincer (drums, vibraphone) and a young Don Burrows playing clarinet.
Regal Zonophone G 24954
NFSA title no 190808
12. The Franklyn B Paverty Bush Band
The Franklyn B Paverty Bush Band has been a Canberra institution for many years and recorded 'Waltzing Matilda' twice on one CD. Alongside the more common version arranged by Marie Cowen in 1903, they included the lesser known ‘Queensland’ version, discovered by folklorist John Manifold in the 1950s and rather closer to the Patterson/MacPherson original in words and melody. Recorded live in the Great Hall of Parliament House, Canberra, on the evening of its official opening in May 1988.
On Waltzing Matilda Again: The Great Aussie Folk Collection – NG99001
NFSA title no 454461
13. Eric Bogle
'Waltzing Matilda' has inspired numerous other songs. Perhaps the most famous, and most poignant is Eric Bogle’s 'And the Band Played Waltzing Matilda', which he wrote as a newly arrived immigrant to Australia in 1972. It was entered in a songwriting competition at a folk festival that year and was awarded third prize. No-one remembers the songs which took the major prizes. It has since been recorded almost 140 times, by singers from many countries. It was first recorded by Eric on his first LP Now I’m Easy in 1980, after several other people had popularised it in Australia and Britain.
On Now I’m Easy – Larrikin LRF 041
NFSA title no 197491
WANT TO KNOW MORE ABOUT WALTZING MATILDA?
Download: Waltzing Matilda original manuscript
Download: Waltzing Matilda words
Download: AB (Banjo) Paterson biography
ASA's Australian Songwriting Contest 2023
ASA's Australian Songwriting Contest 2023
Submit EntryThe Australian Songwriters Association (ASA) is a national, non-profit, member-based organisation dedicated to the support of songwriters and their art. Founded in 1979, the ASA today has a large, vibrant and diverse membership across Australia, and is well established and highly regarded.
The ASA's Australian Songwriting Contest is the country’s largest and longest running competition (over 40 years!) for professional and amateur songwriters. Songs are judged on originality and craft. The song does not have to be performed by the songwriter, but it must be original and not signed with a publishing company at the time of entry.
Membership of the ASA is open to Australian citizens and permanent residents only. The Australian Songwriting Contest is open to citizens of all nations. Entry must be in the name of an individual songwriter, whose responsibility it will be to list any co-writers and liaise with them as necessary if the material progresses through the competition.
Sponsors of prizes and supporters of the organisation include Apra/Amcos, Ari Love Projects, ASA, Band in a Box, Bandzoogle, Black Pearl Studios, Carlingford Music Centre, Christian Fox Accountants, Donna Dyson Music, Fast Track, General Cargo Forwarders, Grover Allman, iDOCoach, I Heart Songwriting Club, Indie Central, James North Productions, KIX Country, Magesongs School of Songwriting, Maton Guitars, MAXXDBXXX-Sonic Management, PPCA, Russ Zimmer Music, Skeed Music, Song Central, Songwriter Trysts, The Code, Vocal Art Studios, Wests Ashfield Leagues Club and YOYO Management
The ASA uses up to 60 well-qualified people from the music industry in a unique multi-tiered judging system in which each entrant’s identity is hidden. This precludes any tendency for the judges’ decisions to be influenced by any factors outside of the song itself.
Following the judging process, 1st place-getters are invited to perform at the ASA's gala National Songwriting Awards, which is an important fixture on the Music Industry Calendar. The Lyrics Category winner is the only exception to this, but they will have their composition displayed in written form on the night.
All 1st, 2nd and 3rd place-getters will receive other prizes as detailed below, and all Top 10 finalists are recognised on stage at the Awards, as well as receiving a Certificate of Placing.
The National Songwriting Awards have been dubbed 'the Easys', after the original inductees into the ASA's Australian Songwriters Hall of Fame, The Easybeats. This year's Awards Night will feature a very special performance by another elite Australian songwriter, who will be inducted into the Australian Songwriters Hall of Fame.
Other presentations made on the night are the Songwriter of the Year, the Rudy Brandsma Award and the PPCA Live Performance Award. Details of these 3 special awards are:
Songwriter of the Year
Rudy Brandsma Award
All entrants who are ASA members qualify for nomination to receive this great honour.
Sponsored by Maton Guitars
Winner receives: Maton SRS60C worth $1899
PPCA Live Performance Award
Judged and sponsored by PPCA, for the best live performance at the National Songwriting Awards
Winner receives: $500 cash
Each of the other 13 Categories have prizes issued for 1st, 2nd and 3rd place, and they vary as detailed below. All dollar amounts refer to Australian dollars. Here is the prize summary:
Australia
Songs with an Australian theme or subject
Sponsored by James North Productions, Christian Fox Accountants, Song Central, The Code, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: James North Productions Mixing and Mastering of one song package, to the value of $700, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: $100 cash, plus from The Code a 90min Social media package for a musician or band, valued at $90 plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash,plus 50% off membership of The I Heart Songwriters Club
Ballad
Sponsored by The Code, Christian Fox Accountants, Indie Central, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: The Code recording studio package for a solo singer/songwriter includes mixing & mastering, valued at $1000, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: 90min YO YO Management Mentorship voucher worth $300, plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash, plus 50% off membership of The I Heart Songwriters Club
Comedy / Novelty
For quirky songs of any genre.
Sponsored by Black Perl, Christian Fox Accountants, Russ Zimmer Music, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: Black Pearl Studios Recording time valued at $1,000 plus 50% off membership of The I Heart Songwriters Club, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus a free tax return from Christian Fox Accountants
- 2nd Prize: Russ Zimmer Music Demo Recording of one song, valued at $200 plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash, plus 50% off membership of The I Heart Songwriters Club
Contemporary / Pop / Dance
Up-tempo modern songs
Sponsored by Vocal Art Studios, Christian Fox Accountants, Grover Allman, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: A $400 Vocal Art Studios voucher for lessons of your choice (Vocal, Songwriting or Instrumental), plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: 200 Grover Allman custom guitar picks, a custom printed leather guitar strap, and a keyring and necklace valued at $205, plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash, plus 50% off membership of The I Heart Songwriters Club..
Sponsored by KIX Country, Christian Fox Accountants, Grover Allman, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: An interview on KIX Country Radio Network and national airplay of your song following the interview, plus promotion and recognition on the networks official Facebook and Instagram page as Country Songwriter of the Year in association with the ASA, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: 500 custom printed guitar picks, leather guitar strap, keyring and necklace, all from Grover Allman, valued at $305, plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash, plus 50% off membership of The I Heart Songwriters Club
Folk / Acoustic
Wide reaching, everything from ‘unplugged’ compositions to bluegrass
Sponsored by MAXXDBXXX-Sonic Management, Christian Fox Accountants, YOYO Management, Fast Track, The Code and I Heart Songwriting Club
- 1st Prize: MAXXDBXXX-Sonic Management Recording, Mixing and Mastering of one song package, to the value of $750, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: 90min YO YO Management Mentorship voucher worth $300, plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: 1hr vocal lesson from The Code, valued at $100, plus 50% off membership of The I Heart Songwriters Club
Instrumental / World Music
World Music or instrumentals of any genre or style, including traditional, blues, jazz, classical, contemporary, film/TV tracks & electronica.
Sponsored by Christian Fox Accountants, Magesongs School of Songwriting, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: $400 plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: $200 cash plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash, plus 50% off membership of The I Heart Songwriters Club
Lyrics
Words of a song or poem/words suitable to be set to music
Sponsored by Band in a Box, Christian Fox Accountants, Bandzoogle, I Heart Songwriting Club and ASA
- 1st Prize: Band in a Box - Ultra Plus Pak valued at $699, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: 1 free year of Bandzoogle Pro Plan website service valued at $200 USD, plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $50 cash, plus 50% off membership of The I Heart Songwriters Club
Open
For that song that may not fit the other categories
Sponsored by Ari Love Projects, Christian Fox Accountants, Skeed Music, General Cargo Forwarders and I Heart Songwriting Club
Sponsored by KIX Country, Christian Fox Accountants, Grover Allman, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: An interview on KIX Country Radio Network and national airplay of your song following the interview, plus promotion and recognition on the networks official Facebook and Instagram page as Country Songwriter of the Year in association with the ASA, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: 500 custom printed guitar picks, leather guitar strap, keyring and necklace, all from Grover Allman, valued at $305, plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash, plus 50% off membership of The I Heart Songwriters Club
Folk / Acoustic
Wide reaching, everything from ‘unplugged’ compositions to bluegrass
Sponsored by MAXXDBXXX-Sonic Management, Christian Fox Accountants, YOYO Management, Fast Track, The Code and I Heart Songwriting Club
- 1st Prize: MAXXDBXXX-Sonic Management Recording, Mixing and Mastering of one song package, to the value of $750, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: 90min YO YO Management Mentorship voucher worth $300, plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: 1hr vocal lesson from The Code, valued at $100, plus 50% off membership of The I Heart Songwriters Club
Instrumental / World Music
World Music or instrumentals of any genre or style, including traditional, blues, jazz, classical, contemporary, film/TV tracks & electronica.
Sponsored by Christian Fox Accountants, Magesongs School of Songwriting, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: $400 plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: $200 cash plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash, plus 50% off membership of The I Heart Songwriters Club
Lyrics
Words of a song or poem/words suitable to be set to music
Sponsored by Band in a Box, Christian Fox Accountants, Bandzoogle, I Heart Songwriting Club and ASA
- 1st Prize: Band in a Box - Ultra Plus Pak valued at $699, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: 1 free year of Bandzoogle Pro Plan website service valued at $200 USD, plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $50 cash, plus 50% off membership of The I Heart Songwriters Club
Open
For that song that may not fit the other categories
Sponsored by Ari Love Projects, Christian Fox Accountants, Skeed Music, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: 4 x 1 hour mentoring sessions with the Ari Love Projects team to build a music marketing strategy valued at $2000 valid until February 2024, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: A Day in the Studio with producer/engineer Dan Skeed, valued at $450 (for a demo, an instrumental, an acoustic recording, co-writing or whatever’s desired). plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash plus 50% off membership of The I Heart Songwriters Club
Rock/Indie
Contemporary songs and heavier arrangements
Sponsored by MAXXDBXXX-Sonic Management, Christian Fox Accountants, Magesongs School of Songwriting, General Cargo Forwarders and I Heart Songwriting Club
- 1st Prize: MAXXDBXXX-Sonic Management Mixing and Mastering of one song package, valued at $750, plus 1 x 10 week term to I Heart Songwriting Club valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: $200 cash plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash plus 50% off membership of The I Heart Songwriters Club
Songs for Children
Sponsored by Christian Fox Accountants, Wests Ashfield, Carlingford Music Centre and I Heart Songwriting Club
- 1st Prize: $400 cash, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: $250 Voucher to Carlingford Music Centre plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 cash plus 50% off membership of The I Heart Songwriters Club
Spiritual
Songs of faith or inspiration
Sponsored by Songwriter Trysts, Christian Fox Accountants, Indie Central, ASA and I Heart Songwriting Club
- 1st Prize: A feature on the internationally recognized Songwriter Trysts podcast and website which shares your songwriting journey, plus 1 x 10 week term to I Heart Songwriting Club, valued at $55, plus 50% off membership of The I Heart Songwriters Club, plus a free tax return from Christian Fox Accountants
- 2nd Prize: $100 plus 50% off membership of The I Heart Songwriters Club
- 3rd Prize: $75 plus 50% off membership of The I Heart Songwriters Club
Youth
Any genre or style - songs by entrants 18 years of age and under as at 1st June this year
Sponsored by Magesongs School of Songwriting, Donna Dyson Music, iDOCoach and ASA
- 1st Prize: Magesongs full songwriting course run via 'web-conferencing live online' (20 sessions). Valued at $1,200 plus a series of 3 Zoom Mentorship Partnership sessions with professional songwriter, composer & label owner & education academic Donna Dyson
- 2nd Prize: A session via Skype on iDOCoach with Mark Cawley, valued at US$150
- 3rd Prize: $75 cash
Rules & Regulations of the Australian Song Writing Contest
- CLOSING DATE - 31 December 2022, but the ASA reserves the right to be flexible with this date as may be deemed desirable.
- ENTRY FEES – The cost is $28 per song for ASA Members or $38 for Non-members (ASA Membership is $69 for an adult, or $33 for a senior or junior, and well worth doing to save you money on entry fees and Awards Tickets, as well as keeping you well informed via the members’ monthly newsletters. The best way to do this is to click the blue Become A Member tab on the website homepage www.asai.org.au then come back to this Entry Platform where your member’s discount will automatically kick in).
- ENTRANTS - Entry is open to both amateur and professional songwriters of any nationality, but must use English language. Entries must be in the name of an individual. The entrant must be the writer or a co-writer of each song entered. Entrants may join the ASA at the time of entry by submitting payment of membership fee with completed entry form, thereby qualifying themselves for Members’ discount rates. Contest entry is not open to ASA Board Members, or persons involved in the administration and processing of entries.
- COMPOSITIONS - Material must be original (both lyrics and tune) and must not have had any obvious commercial success at the time of entry (so professional songwriters cannot enter their published hits).
- COPYRIGHT - Only material in which the entrant has copyright for may be entered in this Contest. The entrant implies that they have full copyright by the act of entering the Contest. Entrants guarantee to indemnify the Contest organisers against any claim or loss resulting from noncompliance with copyright laws. Entrants' copyright in submitted songs is not affected by entering the Contest.
- CO-WRITERS - The names of all contributing writers (co-writers) must be included on the entry form. It is the responsibility of the entrant to divide any prizes with co-writers appropriately.
- PROMOTIONAL USE - By entering, the entrant agrees that entry materials may be used by the Australian Songwriters Association for promotional purposes. This includes such things as placing the Top 10 songs on the ASA website, production of compilation CDs and DVDs, reproduction of Top 10 lyrics in the ASA magazine and possible internet, radio, television broadcast.
- JUDGING - All entries are rendered anonymous and numbered prior to judging so that there is no bias to known writers. The judges' decisions are final and no correspondence will be entered into. The ASA Board will have final discretion in all matters. All entries are judged in the preliminary rounds by at least 3 judges, prior to the selection of Shortlisted and Top 30 Finalist songs in each category. Finalists are judged by a fresh set of music industry professionals, with different judges for each category. This means that the same some in 2 different categories will be given a fresh assessment with subsequent varied results. The Top 10 are obtained by painstaking culling of the Top 30.
- NOTIFICATION OF RESULTS - Those who are Shortlisted will receive an email notifying them of this achievement, by 31 December this year. Those who proceed to the Top 30 will not be emailed but are required to go to the website www.asai.org.au to view the Top 30 lists approximately 2 weeks after the shortlisting email. The Top 10 finalists will be announced at the National Songwriting Awards, where they will be honoured on stage. The Awards will be held early in 2023.
- PRIZES - /Prizes may be varied without compensation, at the discretion of the Sponsor or the ASA. Any physical prizes not collected by winner or their representative at the National Songwriting Awards, will be shipped at the entrant’s expense. In the event of a tied result, prizes are also split as fairly as possible, with the ASA Board making the final decision with no prolonged correspondence being entered into. The ASA is permitted to share email addresses of Prize Winners with sponsors so that direct correspondence can be entered into, unless specifically instructed not to do so by email to the National Office.
- NUMBER OF ENTRIES - There is no limit to the number of entries that may be submitted.
- ENTRIES IN MORE THAN ONE CATEGORY OR FROM A PREVIOUS YEAR - A single song can be entered into multiple categories, or into another year of the Contest. There are different judges for each category and they vary from year to year, so this means that a song may get through in one category or in one year when it may have missed out in another.
- LYRICS - Lyrics do not need to be included except when they are going to be entered into the actual stand-alone Lyrics Category.
- YOUTH CATEGORY - Songs by entrants and all co-writers must be under the age of eighteen (18) as at 31 July this year. Entries of songs with over-age co-writers will be eliminated without compensation.
- ACCURACY - Accuracy of entry information is entirely the responsibility of the entrant. The ASA cannot be held responsible for omissions or mistakes, and entrant miscalculations in payments will not be refunded.
- FEEDBACK SERVICE - For a fee, this service is offered to entrants who would like to have written feedback on their work from a professional evaluator. The evaluations are separate to the judging process. Feedback critiques will not be commenced until after the final results are announced. This rule is in place in order to ensure that no judges, who may also be used for the Contest judging, become unfairly familiar with the works prior to the Contest results being decided.
- PRACTICALITIES: Songs need to be submitted in accordance with the digital requirements described by the online entry platforms. Any entrants unable to use this technology may request a Manual Entry Form by emailing asanationaloffice@
asai.org.au, so that their songs can be submitted on CD or USB stick. There is an additional charge for manual entries due to the extra handling required.