midnight oil

EDWIN GARLAND
Guitarist with Moonlight 5, Waxworks, Dwarfthrower  
I-94 Bar reviewer
Sydney, Australia

I am sure many will say the same: This has been a shit of a year. Even so, I included much more than ten.  Who cares !!

The passing of Greg Sawers
One piece of news hit me in the guts: Greg Sawyers’ death. What more can be said about this real local legend and complete old school identity. He could be fit equally well at the Marrickville Bowlo or Annandale Hotel (R.I.P.) or the Wentworth Park dog track with his working -class dreams and love of supporting pure rock ‘n’ roll. Band manager Greg Sawyers took over when God got drunk. For Ian Rilen, Louis Tillet, Steve Lucasand Steve Balbi, he was their minder and advocate.  He always had a couch for those in need and was willing to cook up his bacon and eggs when they woke sometime after midday.  Greg was all heart and part of a Sydney music scene that is now gone.

Confessions of a Pub Rock Promoter
By Bob Yates
Peach Tree Press

Not every half-baked musician, rock manager, pseudo academic or person who has dipped their toe into the entertainment industry can write a music book.  The output often makes good doorstops. Music writing is an art of its own. Not everyone can write a song, either, but that’s another story.

That said, we do have some great writers in this country with an ability to capture a vibe. The best have a vibrancy to their work and an ability to translate exciting moments.

Some memoirs make an emotional connection or show a deep understanding of a moment in time. Overseas, Suzi Rotolo’s book on the early NY folk scene and her relationship with Bob Dylan springs to mind. Locally, the darkly cynical work of Bob Short and his musical journey, or Jim Moginie’s autobiography, are examples.  

When an author is able to combine all of the above, you have gold.  

Bob Yates manages this, both with his candid story of his deep love and regret about the loss of his dutiful and talented partner Virginia, and his journeys through the Australian music industry.

The book opens with a vista of the the beige world of Australia in the 1950s and ‘60s. A world of Menzies, portraits of Queen Elizabeth, and blokes who wore long socks and shorts.  Like many kids, Bob’s world changed suddenly with the arrival of The Beatles, the Rolling Stones and Dylan and then war in Vietnam.  

Bob and Virginia were a young couple building a home and a life together. Bob’s story about the loss of his marriage while deeply involved in music carries a sense of regret and ultimately humility.

Sydney kid Bob Yates had already proven to have that entrepreneurial spirit; the local paper boy who mowed lawns for a few shillings with his sleeves rolled up. In his teens, he was playing the stock market and made heaps of money - enough to pay half the deposit for house in Balmain. He then lost a small fortune and was in heavily in debt.

The character of a hard-edged promoter was shaped at early age, along with an ability to climb out of a hole. Bob was back waking up at 5am to start work again, putting in enormous hours in factory work, mowing lawns or as a cleaner.

Yates fell into the world of booking, and promoting gigs from his early 20s. It was completely street level, handing out flyers, doing poster runs and hiring halls. He held packed events at Balmain and Paddington Town Halls, as well as in assorted community and church halls, and some of his gigs drew almost a thousand people.

Bob’s book provides insights of a scene that I knew little about. In the late ‘60s and early ‘70s, Balmain was a hub of Sydney culture. “Confessions of a Rock Promoter” shines a light on acts like Jeannie Lewis and Captain Matchbox as well as the lesser known ones - including Ward and Johnston, the duothat Bob  managed, That he ended getting major international supports for them like Ike and Tina Turner provides an understanding of the wheeling and dealing involved. Bob Yates was certainly a mover and shaker for close to a decade.

It was towards the end 1976 that Bob sensed a change in Australia. The impact of Radio Birdman on Sydney has been well documented. It was not only the music. Doors were now open to a variety of new music and new venues were springing up – especially iun their home town Sydney.  

The legendary underground spot, French’s Tavern on Oxford Street, was changing its booking policy and opening a rock room downstairs. A band with a fervent following on the city’s northside had recently changed its name from FARMto Midnight Oil, and was dropping its prog rock pretentions with a nod to Radio Birdman’s twin guitar attack. Birdman’s impact was equally evident on The Angels who were evolving out of being a roots boogie band from Adelaide into something more theatrical and calculated.

Bob Yates’ story of Midnight Oil auditioning for the Stage Door Tavern where he was now the booker is hilarious – especially with the arrival of the fast talking and intense Garry Morris as their manager. Bob booked the Civic Hotel in Goulburn Street and by 1978 it was a bastion of a new breed of bands, hosting the art students from Mental as Anything and early gigs by The Angels and Cold Chisel.

It was here that the early postpunk scene emerged into the light and it was full houses most nights.  You can feel the energy of that time in Bob’s writing. Rooms like The Civic gave a home to arty indie bands and allowed them to be creative. Punk venues were also opening in the rundown parts of the city near Central Station and were drawing mostly underage kids.  It was, as Yates relates, a real changing of the guard.
 
The book explodes as Ian Rilen makes his entry into its pages. Bob Yates perfectly captures the man’s spirit and charisma – the wildness and raw talent.

Ian’s formation of X had really made an impact on Sydney. A tough, street level bass player with a grounding in bands like Fraternity, Band of Light and the early Rose Tattoo, Ian left that latter band with “Bad Boy for Love” before departing because he thought they were heading in the wrong direction. Now he had a new beast.

Unlike Midnight Oil, who were allocated a Tuesday audition, Bob gave  X their first Civic gig on a Friday night on reputation alone - and for a huge guarantee. The line-up down Pitt Street was full of a new breed of inner-city audience with a red “X” painted or stencilled onto ripped jeans and tee-shirts. X drew a full house, leaving scars on the carpet and broken glasses as far as the eye could see. Yet they were welcome back as they broke the bar record.

A couple of years later, Ian wanted Bob to manage his stunning new band Sardine V. Yates, had a fair a bit to do with Ian securing a publishing deal. Ian was certainly one of the most talented songwriters to have emerged on the scene.

Bob’s description of the inner-city music scene of punk and post punk is raw and exciting.  Yates was well over a decade older than most of the musicians on stage and even older than an audience mostly aged in their teens. His background was a decade in folk music and roots bands. He describes the sudden shift as a massive tidal wave with words conveying the rawness and passion of the music itself. These bands he cites are names many of us know; Laughing Clowns, Lipstick Killers, Hitman, Ward 13, The Passengers, Jimmy and Boys, Flowers and The Professors among them, just to name a few.

Bob was now booker and promoter of The Civic, Stage Door and the Royal Antler on the Northern Beaches that was the Oils were packing out. A pivotal point for Bob was the arrival in 1978 of Mi-Sex from New Zealand, following a well-worn path trod by Dragon and the La De Das. Suddenly, they were the new band to check out. Yates was impressed.

A large section of book is focused on him taking them from a midweek, $50 a gig support band to being the biggest pop drawcard in Australia. It is tale of a gigantic rise to the top, built on belief, bravado and bold, sharp managements skills by a man who became workaholic. Sweeping up all the awards of 1980 and dealing with the American arm of CBS Records, the small-time Sydney promoter of a few years earlier found himself working with the biggest names in the industry and walking into the boardroom of a record monolith in New York City.

These are heartbreaking aspects to this. CBS were dickheads and it’s a body-blow to Bob when they don’t keep their word. There is a lot of fast talking. And the next thing can be another conversation and another line of coke. It’s a fascinating story and a warning to those who romanticised the industry without saying what really goes down.

Sadly, in world of inflated egos is a lack of understanding that what goes up can fall very quickly. Bob realises this is not his world and decides he wants out.  He seen enough of where he does not want to be.

Bob’s final major foray into the big time was a Tiny Tim show, presented with artist Martin Sharpe at The Sydney Opera House. It’s a tale set in the twilight zone where art and street level promotion were never meant to meet.

Here we are in 2026 and the industry is completely changed and has lost its sense of alternative, counterculture. Private colleges have diplomas in music management and it’s a world away from the tough side of dealing with underworld figures with pistols in backroom offices drawers, bundles of cash in car boots, and amphetamine-fuelled roadies driving 3000 kilometres to get a band’s gear to a gig on time. A world with no Instagram, Facebook or band websites.

“Confessions of a Pub Rock Promoter” is a rip-roaring read by a gifted writer and a window into a time many decades ago.

Buy it

It's almost 2019… and the world seems to be going mad. But the big question I ask myself… is rock dead?

I see alternate styles of music like rap, hip-hop and commercial pop dominating youth culture. I wouldn’t recognise Drake or Flume if they dropped their USB sticks in front of me. In closeted rock’n’roll enclaves such as the I-94 Bar dirty rock’n’roll seems to be thriving, but one by one icons are dropping off the perch. How much longer can it survive?

The benchmark I’ve been looking at is guitar sales. Electric guitar sales have slipped 22.7 percent since 2008… the price of guitars is rocketing, yet it appears that the acoustic market is on the up… Something like a 15 percent increase over the same period. Although insipid, whiny vocal sounds have probably been tied to the same trend.

The trend that parallels the increase of Ed Sheeran wannabes is the rise of vinyl sales. I’d guess that pot smoking hippies, listening on their Technics SL1200 to Bob Dylan re-masters trying figure out how to play protest songs while avoiding the dreaded F chord are to blame.

Despite my sense of foreboding I did manage to catch some quality rock’n’roll but I put that down to confirmation bias. My personal faves:

 Garry Campbell in full flight. 

WORDS: Ed Garland
PHOTOS: Jules

I am the first to admit I got it wrong about Sydney band RUST.  

You these hear stupid comments around the scene (by those who claim to be “in the know“) that RUST is a right-wing Oi band.  As time’s gone on, the penny has slowly dropped.

First,  I watched the band put in a blistering set at The Metro in Sydney support of Stiff Little Fingers and they impressed me .

A couple of years later, pre-Covid, I caught them at Time and Tide in Dee Why in one wild punk night. They struck me as a solid Oi cross-over punk band, but maybe but not my thing.  

Thunk - Jim Moginie and The Family Dog (Reverberama)

Former Midnight Oilguitarist Jim Moginie’s book “The Silver River” outlines how the earliest gigs for his solo band, The Family Dog, were a humbling experience.

Not unlike early shows by his teenage band FARM in the mid-1970s, they played obscure venues outside the city so he could re-learn his craft and build  confidence as frontman and singer. He was incredibly nervous,. Very few people showed up, and many only did so out of curiosity. 

That’s Jim Moginie all over. Normally, when a member of an international band of some standing appears in a relative backwater (Midnight Oil sold 25 million records and ranks as the third most successful band that Australia has produced) it would be massive news. Jim exudes a sweeping humility and it shines through on this album.

It’s renowned as one of Melbourne’s most spectacular rock and roll shows and it hits Sydney’s Factory Theatre at Marrickville on Saturday. Epic Brass is the brainchild of Hunters and Collectors horns man Jack Howard and employs a stellar cast of underground stars to showcase the songs of the Saints, X, Laughing Clowns, Painters and Dockers, the Hunnas and Midnight Oil.

Former Sydneysiders Ron Peno (Died Pretty), Steve Lucas (X), Penny Ikinger (Wet Taxis) will join Jack Howard and Fiona Lee Maynard, with John Archer (Hunters and Collectors) on bass and Ash Davies on drums. Tickets here.

If you’re of a resident of Sydney’s Inner-Western Delta, you won’t have far to catch two sideshows before and after Saturday. Steve Lucas plays a free solo show at the Golden Barley at Enmore from 8pm on Thursday night with Penny Ikinger backing up at the same venue at 7pm on Sunday, also gratis.

Lightheavyweight 2 - Jack Howard (self released)

Jack Howard? 

Trumpet player. One of the guys in the Hunnas horn section. And The Horns of Contempt.

Who's been playing with Midnight Oil a lot over the last few years. Special gigs with X, a few with Hunnas, but... you know. Day job, kids... who has time to be creative these days?

Jack can't let go of the creative bug. In between all those suburban things, he's been doing solo material, working with the band Epic Brass (a sight to behold)... good, God, there are 15 releases on his Bandcamp page! 

 
Midnight Oil
Hordern Pavilion
Monday 3 October 2022

Photos by Jonathan Armstrong of www.bigjphotography.com

The 1982 Capitol Theatre run of shows in Sydney was a crossroads for Midnight Oil. They were broke and had already notched 500 gigs since September 1977, which was the date that they decided to go full-time after a Bondi Lifesaver show.  

Midnight Oil was equally the largest drawcard on the Australian live circuit but it was not reflected in record sales. It had cost a lot to record their third album, “Place Without a Postcard’ overseas with legendary producer Glyn Johns (Rolling Stones and The Who). “Place” was a rocking, earthy and colloquial album. The production was warm - yet it was of the past and sounded like it had been recorded it in 1970.

LightHeavyWeight 3 - Jack Howard (self released)

If you don't know who Jack Howard is, I can only assume you are a newcomer to Australian music, and probably a newcomer to this website. For the benefit of the uninitiated, he played trumpet with Hunters & Collectors, toured the world with Midnight Oil as their multi-instrumentalist and has played with the likes of Rodriguez, The Violent Femmes, The Living End, You Am I, Tex Perkins and Kate Ceberano. 

So let's move straight away to the nitty-gritty. It's the music, it's the beat, it's the soul. Those are the only things that matter.

Jack Howard’s Epic Brass has already blitzed hometown Melbourne and he's taking it north to Sydney's Factory Theatre on June 2 with an all-star cast.

Jack Howard’s Epic Brass is a celebration and an exploration of the great horn hits and hidden gems of Australian rock – from Hunters and Collectors and the Oils to The Saints, The Laughing Clowns and Wet Taxis, the show features an incredible set list of killer brass tunes.

The Epic Brass band features a mighty four-piece horn section. Jack is joined by a terrific cast of guest singers and players – Ron Peno (Died Pretty), Paulie Stewart (Painters And Dockers), Steve Lucas from X, Penny Ikinger (Wet Taxis) and Melbourne sensation, Fiona Lee Maynard, who bring their style and energy to this uniquely powerful show.

This is not a real Top Ten list as such. Just a list of personal highlights that were beacons in what was another shit year for most of us.

The passing of Johnny Nolan (Bored!, Powder Monkeys, Powerline Sneakers) did not help. After his death, I read through al private messages we exchanged over the past decade. Johnny was a man of passion and so much love for music a genuine lovely bloke with his bands. R.I.P.

The Sonny Michaels Show
This shambolic pisstake on the bad ‘70s TV host has equal parts Norman Gunston and Don Lane. We get two hours per month. It is so funny.  Paula and Mike Brown are a talented duo and the Sonny Michaels character is world-class.  They also present at least 15 artist videos who would not normally get viewed outside their YouTube channels .Great work. 

2022 was another year that was hampered by the pandemic; while we are seeing green shoots of recovery, the scars are still pretty deep. I’ve spent most of the year doing the usual stuff, so this is some of what has poked it’s head up in my rounds.

1. Guitar sales
2022 wasn’t all bad news for rock and roll. It seems that the market for new guitars has nearly reached $3b globally… which is a helluva lot of new Fender Strats. I know I’ve been doing my bit, but it does mean that the death knell for guitar based rock and/or roll may have been premature.

2. Young Rock Renaissance
On the back of those sales we’ve been seeing an increase in younger rock acts taking up the mantle. While the standard bearers of the Aussie bogan rock scene, Amyl & the Sniffersand The Chats,  have gone from strength to strength, I’m seeing a lot of younger acts finding their feet on the live scene in Sydney. Special mentions to Euterpe, Polly and of course, out of self interest, Pocketwatch.

R.I.P. Ed Yonker. At the time of his passing earlier in 2022, I was going to write a few words about this legend of the Australian music Industry.

This quiet achiever in an industry full of sycophants, where inflated egos don’t match their mediocrity.

There few gems I have encountered in “the industry” like Ed Yonker. He was one of the good ones. A hip cool cat with his leather jacket who, as a teenager, had seen the Beatles, Rolling Stones and The Animals in Holland in 1963-65. At first, he was not that impressed by what he found in the Australian musical landscape when he migrated here.

Ed was of the one first attendees at Beatle Village on Oxford Street in Sydney. He used to catch the train, avoiding the bogans who wanted to fight a cool kid in what was the early days of the Bohemian inner-city music scene. He was often at the gigs by The Easybeats , The Creatures and The Missing Links.