Vinyl Vibes – Details, episodes & analysis

On this episode Jack is joined by Lonnie Lee, Australian rock and roll pioneer.

Lonnie grew up in a time before rock and roll, when artists like Johnny Ray and Nat King Cole ruled the airwaves. But everything changed in 1955 when he first heard Bill Haley and from that point onward rock and roll was his passion. In 1957, Lonnie entered a competition setting out to find “Australia’s Elvis” and he won. From there, his career began to take off, getting gigs around Sydney and doing other various competitions. After taking a year out of music in 1958 due to a car accident, Lonnie made his musical comeback in 1959.

Lonnie came to record through promoter Lee Gordon, who signed Lonnie to the Leedon label. During his first session, he didn’t have a B-side for his debut single, so in the studio he and Johnny O’Keefe penned Ain’t It So in about 20 minutes. It would become Lonnie’s first hit, making it into the top ten on the Sydney charts in late 1959. Through the early '60s, Lonnie would have a string of other hits including Starlight Starbright and I Found a New Love.

More recently, Lonnie has just released his first book in a planned set of four on his life — the first book in the series Almost a Star — and goes into his early life before his success in rock and roll.

Jack phoned Lonnie to talk about his early musical memories, the impact Johnny Ray had on him, life pre-rock and roll, hearing Bill Haley and Elvis for the first time, his memories of winning a competition in 1957 that was looking for Australia’s Elvis, his work throughout 1957, the car accident he had in late 1957, his time as a jackaroo in 1958, what it was like being isolated from rock and roll during most of 1958, his comeback to music in 1959, how he came to be signed to the Leedon label, how Ain’t It So came to be, the success he had throughout the late '50s and early '60s, how he came to be the first Aussie artist to have a full-colour album cover, his 2019 album Back to Base X, and his new book Almost a Star.

"So he (a friend of Lonnie's) went and bought this record and of course it was 'Rock Around the Clock' and it was just amazing — hearing this song was just... like a blind person seeing for the first time." – Lonnie Lee on this episode of Vinyl Vibe, talking about hearing rock and roll for the first time.

Episode Hosted and Produced by Jack Hodgins. 

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In this episode of Vinyl Vibes Jack is joined by founder of Ariel, Mike Rudd.

In 1973, Mike’s band Spectrum came to an end shortly after the recording of their 4th studio album, Testimonial. Soon after this, Mike and Spectrum’s bass player Bill Putt were joined by Tamam Shud band members Tim Gaze and Nigel McAra, forming Ariel in the same year. Over the course of three months, Mike would write the band’s first album, A Strange Fantastic Dream. 

Following the release of the band’s first album in late 1973, Tim Gaze and Nigel Macara left the band. Although this devastated Mike at the time, it allowed him to take on the ambitious creative project that was The Jellabad Mutant Rock opera album. Over the course of 1974, this would be Mike and the band’s main project. During the year, the band had interest from EMI in the UK and was invited to record at Abbey Road Studios. However, once The Jellabad Mutant had been demoed, EMI Australia outright rejected it. This led to the band having to rely on material from the Spectrum days and the few songs Mike could write in the short amount of time leading up to recording in the UK.

The Rock and Roll Scars album would be recorded at Abbey Studios and would feature a re-recording of Spectrum’s number 1 hit I’ll Be Gone. They would return to Australia in early 1975 and play the last Sunbury festival. 

Ariel would continue to make music until their last gig in August 1977 at the Dallas Brooks Hall in Melbourne. 

Jack called Mike to talk about the formation of Ariel, the writing of A Strange Fantastic Dream, how the album pushed the boundaries of songwriting, the controversy surrounding some  of the songs on Strange Fantastic Dream, playing a tour with Gary Glitter, the demoing of The Jellabad Mutant, how EMI's rejection of The Jellabad Mutant impact the band when they went to the UK to record, recording at Abbey Road Studios, playing at the '75 Sunbury festival, and the band's last gig in 1977 at the Dallas Brooks Hall. 

"The opportunity to actually demo stuff was pretty remote in those days. I think I had a tape recorder, but that was it. Quite often, they were just dubbed onto a cassette, and the band expanded on that—and whatever we ended up with was Ariel" - Mike Rudd on this episode of Vinyl Vibes talking about finding the Ariel sound

Episode Hosted and Produced by Jack Hodgins.

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Rick is best known for his time in the local 1970s band Benny and The Jets; however, in this episode, Rick and Jack discuss his musical work throughout the ‘60s. Rick joined his first band, The Mystics, in late 1963 during the instrumental music craze of the early ‘60s. By the time The Beatles stepped onto Aussie shores in 1964, Rick had joined another local group, The Mystery Men. Possibly Rick’s greatest success during the ‘60s was his time in The Second Thoughts. In July 1966, The Second Thoughts would record a single at Nat Kipner's St. Clare Studios in Hurstville. A few nights beforehand, in the same studio, Kipner had just recorded and produced the Bee Gees' breakthrough hit, Spicks and Specks. Rick and the rest of the band would be among the first people ever the hear this Bee Gees hit. The Second Thoughts would record three songs with Kipner in one session. Two of them, Run Back Home and The World Keeps Going Round, would be pressed onto a 45 single and become a number one hit in Newcastle for The Second Thoughts. However, the third song from that session, a cover of The Kinks' song Wonder Where My Baby Is Tonight, has never seen the light of day. At first Jack thought this recording was lost to time having never been released; however, Nat Kipner gave Rick a copy of the recording on cassette some time ago. Rick, at some point, had the song on the cassette transferred to CD and has dug out that CD to be played in this Vinyl Vibes episode. This song has never been heard anywhere since being recorded by Rick and The Second Thoughts in 1966. 

After The Second Thoughts, Rick would form Butter Suite in 1969, the band which he would stay with for the remainder of the ‘60s. More recently, Rick has written a book called Hey Rock and Roll, which reflects on his time in music and the Newcastle music scene of the ‘60s and ‘70s. 

In this episode Rick discusses with Jack his first guitar, the instrumental surf craze of the early '60s, how Rick came to join his first band The Mystics, The Beatles tour of Australia, seeing The Shadows live in 1965, the formation of The Others, how The Others became The Second Thoughts, recording with Nat Kipner, being one of the first people ever to hear Spicks and Specks, his time in Bitter Suite and his book Hey Rock And Roll. 

"When we left the studio it was agreed by Nat that 'The World Keeps Going 'Round' would be the top side..'Wonder Where My Baby Is Tonight' would be the flip side and we wouldn't use 'Run Back Home' but when the record came out the record company had pressed it up differently...those things happened in those days, it was a bit slap dash." - Rick Pointon on this epsidoe of Vinyl Vibes talking about the recording of The Second Thoughts local number one single  

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In this episode of Vinyl Vibes, Jack kicks off his 8-part Newcastle Vinyl Vibes series talking with Dannie Davidson, drummer of Tamam Shud. This series will talk with a range of local rockers important to the Newcastle music story. 

Dannie’s first group was a local Newcastle band called The Strangers, which he helped form in Cooks Hill in 1962. With Dannie on drums, The Strangers would go on to be Newcastle’s top group of the early ‘60s. In 1964, The Strangers became the first Newcastle band to have a single released nationally when their single The Rip came out. The band would leave for Sydney in 1965 and become The Sunsets, where they would play more Beach Boys-type music. While in Sydney, they would meet filmmaker Paul Witzig, who would get the band to provide soundtrack music for his surf films. In 1967, the band’s music was changing yet again due to the influx of American sounds from the likes of The Doors and Jefferson Airplane, and so the band changed their name to Tamam Shud. 

As with their days in The Sunsets, Paul Witzig got Tamam Shud to provide the soundtrack music for his surf movie Evolution. In return for their services for Witzig, the band was able to record a studio album. Tamam Shud would record their debut album, Evolution, in one session. The album would sell out its initial pressing of 10,000 copies within weeks; however, due to the master tape being erased, it would not see another pressing for many years to come. In early 1970, Tamam Shud would begin recording their second album, The Goolutionites and The Real People. Continuing their innovative ways, the album was environmentally themed, an unusual topic for a rock record in Australia at the time. Dannie left the Shud after the band's second album and throughout the 70s would go on to perform in bands such as Karvus Jute and Band of Light. 

In this episode, Dannie discusses with Jack his early life in Newcastle and Kings Cross, seeing acts such as Buddy Rich live in the '50s, the formation of The Strangers, the instrumental craze of the early '60s, the recording of The Rip, how the band became The Sunsets, meeting Paul Witzig, the recording and success of Evolution, Tamam Shud live gigs of the late '60s, the band's second album, and what Dannie is up to today. 

"We recorded The Rip, I think we did that... I think it was released in '64, but we actually recorded it in '63. It was going to be called Bombora, but The Atlantics came along, and we were filthy because we were surfers and they weren't!" - Dannie Davison on this Vinyl Vibes episode talking about the debut single from The 4 Strangers called The Rip. 

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On this episode of Vinyl Vibes, Jack is joined by Geoff Bridgford, drummer of The Groove and The Bee Gees. Geoff got into music at an early age, surrounded by the sounds of rock and roll. He used to frequent Alan’s Music in Melbourne. One day at the store, one of the girls working there mentioned that a group called Steve and The Board were looking for a drummer. The band had a hit on the charts called "The Giggle-Eyed Goo" at the time, so Geoff went to see the group at the 10th Avenue Disco. He auditioned for the band on drums live at the gig, and as the audience loved his playing, he was recruited as the new drummer for Steve and The Board.

After a year of being in Steve and The Board, Geoff had a knock on the door from Garry Spry, who was putting together a band called The Groove. Geoff agreed to join, and the band would spend much of its first year rehearsing in Melbourne. By September 1967, the band’s first single, Simon Says, was released and became a top 20 hit. However, it would be the group’s second single, Soothe Me, which would become The Groove’s biggest hit. The Groove’s version of the song was largely based on the Sam and Dave version, which had come out the year before. For The Groove, it would reach number 10 in Australia.

After winning the Hoadley’s Battle of the Sounds in 1968, The Groove won a trip to the UK. After two years in the UK with minimal success, the band broke up, and Geoff joined Tin Tin in 1970. Tin Tin’s second album, Astral Taxi, would be produced by Maurice Gibb of the Bee Gees. Because of this, Geoff started to collaborate with Maurice on his unreleased solo album The Loner. At this time, the Bee Gees had broken up, but when Robin Gibb returned, the band decided to reform. With Geoff playing drums for both Maurice and Barry, they decided to take him on as the official Bee Gees drummer.

Lonely Days was the first song Geoff recorded with the Bee Gees. As a single, it would reach number 8 in Australia, number 1 in Canada, number 33 in the UK, and number 3 in the United States.

Trafalgar would be the first and only album where Geoff was featured as an official member of the Bee Gees. The first song recorded during the Trafalgar sessions was a song Barry Gibb wrote called How Can You Mend a Broken Heart. It would become the Bee Gees’ first number one hit in the United States. Before this moment, no Australian-born musician had ever been featured on a U.S. number one hit. Since the Gibb brothers were born in the UK, this makes Geoff the first Aussie to ever be featured on a U.S. number one hit. The song would reach number 2 in Australia.

Geoff left the Bee Gees in 1972 but has remained involved in music over the years. More recently, Geoff has focused on doing solo material. His latest standalone single came out in late 2021 on his Bandcamp. It’s called Recognise and was written about Indigenous rights. To find more of Geoff’s solo material, you can visit his Bandcamp and YouTube pages.

Jack phoned Geoff to talk about his early days in music, the impact that rock and roll had on him, how Geoff came to join Steve and The Board, his first time recording, how he came to join The Groove, the soul hits the band had such as Soothe Me, his memories of winning Hoadley’s Battle of the Sounds in 1968, The Groove’s time in the UK, his work with Maurice Gibb, how he came to join the Bee Gees, recording his first song with the Bee Gees, Lonely Days, the Bee Gees’ first U.S. number one hit How Can You Mend a Broken Heart, and his work since leaving the Bee Gees, including his recent single Recognise.

"To this day, I still remember Barry coming into the studio and saying, ‘I’ve got this really nice country song, do you want to play it down with me?’ and I said, ‘Sure, what’s it called?’ and he said, ‘It’s called How Can You Mend a Broken Heart.’"-Geoff Bridgford on this episode of Vinyl Vibes talking about recording How Can You Mend a Broken Heart with The Bee Gees

Episode Hosted and Produced by Jack Hodgins 

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On this episode of Vinyl Vibes, Jack is joined by Elliot Lurie, co-lead vocalist and guitarist of Looking Glass. 

Looking Glass formed in the late '60s while its members were attending Rutgers University in New Jersey. The band became popular on campus, and after graduating, they decided to take a year off to do music full-time. They rented a farmhouse and got to work writing songs and recording demos. The band was signed to CBS Records and began recording for the label. During their time in the farmhouse, Elliot wrote a song called "Brandy (You're a Fine Girl)." It was this very song that the head of CBS Records, Clive Davis, insisted be released as the band’s debut single. However, the band opted instead for "Don’t It Make You Feel Good." 

This first single failed to chart, but it was perhaps a CBS promotions executive named Robert Mandel who saved the band’s career. Mandel took an acetate of Looking Glass' debut album to a disc jockey at a Washington, DC, radio station. The DJ put the vinyl on the turntable and played track two, "Brandy (You're a Fine Girl)," on the air. It had an instant reaction from listeners, with the radio station phones lighting up. CBS knew it was going to be a hit and pressed the song as Looking Glass' second single. The single would reach number one in the U.S. and number 10 in Australia. In 2017, the song would see further success when it became a main feature in the blockbuster Guardians of the Galaxy Vol. 2. 

In 1973, the band released their second and final album, Subway Serenade. It brought the group a Top 40 hit with the single "Jimmy Loves Maryanne." As a single, "Jimmy Loves Maryanne" reached number 33 on the Billboard Hot 100 in the U.S. and number 75 on the charts in Australia, making Looking Glass by no means a one-hit wonder. Elliot left the group in 1974. 

Today, Elliot collaborates and plays live gigs with Yacht Rock Revue. Yacht Rock Revue is a band that mainly plays covers considered part of a genre called "yacht rock." The group has also done some original work, with a recent single, "Tropical Illusion." Elliot co-wrote the song with a member of Yacht Rock Revue, and it would be the lead single off their 2024 album Escape Artist. 

Jack Zoomed with Elliot to discuss his early days, the impact rock and roll had on him, the formation of Looking Glass, how the name Looking Glass came to be, the group’s early popularity around Rutgers University, the band's time writing demos, the writing and recording of "Brandy," the band's first single, how "Brandy" became a hit, what it was like having "Brandy" in Guardians of the Galaxy Vol. 2, the band’s second album, and Elliot’s work today with Yacht Rock Revue. 

"We were sitting in my car, a Chevrolet, all four of us, and we were probably a little high at the time, haha, and we were trying to come up with a name for the band. We were staring at the rearview mirror in the car, and somebody said, 'What about The Mirrors?' We kind of liked the concept of the mirrors because we thought of ourselves as regular guys, and we were a reflection of our audience, but we didn’t like the name 'Mirrors.' Since it was like the psychedelic era, I said, 'Well, what’s like a mirror? How about like a looking glass?'" - Elliot Lurie on this episode of Vinyl Vibes talking about how the name Looking Glass came to be 

Episode Hosted and Produced by Jack Hodgins 

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On this episode of Vinyl Vibes, Jack is joined by David Rowlands, drummer of Phil Jones and The Unknown Blues. Dave formed a band called the Firebirds with fellow high school friends during the first half of the ‘60s. The Pretty Things released their debut album in 1965, and on its track listing was a song called "Unknown Blues". One day, while browsing in a record store, Dave came across this album and saw the song name "Unknown Blues". He thought it would be a great band name and suggested it to the rest of the Firebirds. They all agreed on the name, and so in 1966, the band became known as The Unknown Blues. Over the next year or so, the band would delve deeper and deeper into the blues and begin developing their own versions of various blues standards.

The band came to the attention of Festival Records in 1967 and recorded their first single If I Had a Ticket. It would be a Top 20 hit in Sydney, bringing the group further gigs and TV appearances. Some have cited this record as the first blues hit for an Australian group, and today it remains a favorite amongst Oz rock fans.

By late 1967, psychedelic rock was overtaking the blues in popularity in the Sydney music scene. As a result, Phil Jones and The Unknown Blues tried to adjust to this new sound on their third single, Brave New World (Of Fairy Tales). Unlike their previous two singles, which consisted of traditional blues songs, Brave New World was self-penned by lead singer Phil Jones. The single also made use of more studio effects, such as the audio tape effect known as flanging. Despite the band's best efforts, they did not reclaim their stature in the Sydney scene, and Dave soon left the band in early 1968.

Phil Jones and The Unknown Blues would reform for the 2011 Bluesfest. The festival gave the band the chance to play alongside other acts on the bill, such as Bob Dylan, B.B. King, and Elvis Costello. The band performed its hit If I Had A Ticket, along with other songs Phil Jones recorded in the UK after the band's disbandment in 1968.

Today, Dave is still playing drums and is the organiser behind the Goulburn Blues Festival.

Jack phoned Dave to discuss his early days in music, the formation of The Firebirds, how the blues impacted him and the rest of the band, how The Pretty Things inspired the band to change their name to The Unknown Blues, how the band came to be signed to Festival Records, the recording of If I Had a Ticket, the success the band had in Sydney, how Jimmy Page came to meet the band, the band's third single Brave New World (Of Fairy Tales), and the group's re-formation in 2011.

"Two English guys turned up with long hair, and at the time we didn't know who they were. It turned out that the band The Yardbirds had done a performance at Sydney Stadium. Two band members wanted to find out where the young people hung out... and it was Jimmy Page... our guitarist invited Jimmy up to play, but he said 'look, I can't do that, I'm endorsed by Fender'." - Dave Rowlands on this episode of Vinyl Vibes Talking about Jimmy Page turning up at one of Phil Jones and The Unknown Blues' gigs

Episode Hosted and Produced by Jack Hodgins

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On this episode of Vinyl Vibes, Jack is joined by Dannie Davidson, drummer of Kahvas Jute. Since 1967, Dannie had been playing with the iconic Oz rock band Tamam Shud. In 1970, Dannie left Tamam Shud after the recording of their second album, The Goolutionites and the Real People. Dannie was soon approached by promoter Peter Cunningham to form a new group with Bob Daisley and Dennis Wilson of the Creme cover band Mecca. The group rehearsed for the first time at Dennis’ house, and Dannie loved both Dennis’ and Bob’s playing right away. The band would decide to call themselves Kahvas Jute.

Before even playing a gig, Kahvas Jute went into the studio for four days to record their debut album, Wide Open. Although Wide Open would peak at #27 on the Australian album charts, the album’s success was cut short due to the petroleum shortage in Australia at the time. Due to the shortage, Festival Records pulled the album from stores to melt them down and re-press them into Elton John’s new album. Of the first 10,000 copies of Wide Open pressed, only 3,000 were ever sold, making the original LP a sought-after collector's item.

After the release of their album, Kahvas Jute started playing live shows. In 1971, the band did an East Coast tour of Australia and a tour of various universities across the country. In June 1971, the band made the ambitious move to the UK.

While in the UK, the band came to the attention of EG Management, who had artists such as T. Rex and Roxy Music on their roster. EG Management were looking for bands to market in the United States and thought Kahvas Jute would be perfect for the US market. The band was signed to Festival Records at the time, and although EG Management offered fifty thousand dollars to Festival to release the band from their contract, Festival declined. The band was shattered and broke up soon after. Although they would reform once back in Australia, Kahvas Jute would not go on to make a second album and would disband in 1974.

Jack spoke with Dannie in the studio about the formation of Kahvas Jute, the writing of their first single Free, the recording of Wide Open, why Festival Records pulled the album from stores, their early gigs, the band's 1971 East Coast tour, the band's move to the UK, how the band came to the attention of EG Management, how Jimmy Page was a fan of the Wide Open album, the story behind why EG Management could not sign the band, and the band's time back in Australia before disbanding.

"We hadn't even done a gig, so we were straight into the studio... which is unheard of in itself. That's how much faith they put in us." - Dannie Davidson, on this episode of Vinyl Vibes, talking about Kahvas Jute's album Wide Open.

Episode Hosted and Produced by Jack Hodgins.

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On this episode of Vinyl Vibes, Jack is joined by David Rivkin, Grammy Award-winning recording engineer. The music of artists such as The Kingston Trio first sparked Dave’s interest in music, but it was when he heard the electric guitar for the first time that his life was forever changed. In 1963, Dave joined a local Minneapolis band called The Chancellors, and after recording the group’s local hit Little Latin Lupe Lu, Dave became hooked on learning how to record music.

By the mid-'70s, Dave was recording music professionally at ASI Studio. In 1976, Grand Central, an early band to feature Prince, came into ASI Studio to record some demos with Dave as the engineer. A year later, in 1977, with Dave now at Sound 80, he recorded Prince again. Dave’s sessions with Prince in 1977 resulted in three songs that would be featured on Prince’s debut album, For You. One of those songs, Soft and Wet, would become Prince’s first single.

While working at Sound 80, Dave also became involved with a group called Lipps Inc. In 1979, Lipps Inc. recorded a disco track called Funkytown, which Dave engineered and played on. Despite being released at the tail end of the disco era in 1980, the Funkytown single would sell 8 million copies and hit number one in Australia, Canada, the United States, and many other countries worldwide.

In 1983, Dave worked again with Prince when he recorded a short-notice benefit concert at First Avenue in Minneapolis. At this concert, Prince debuted the now-classic Purple Rain. The 70-minute benefit concert was recorded by Dave outside the venue in a mobile recording truck. Unknown to Dave at the time, the version of Purple Rain he engineered would become the official recording, both as a single and on Prince’s 1984 album of the same name.

In 1987, when Prince opened his Paisley Park studio, Dave moved from Sound 80 to become a producer at the new complex. One of his early production projects at Paisley Park was working with The Fine Young Cannibals. Dave produced the band’s hit She Drives Me Crazy, and he was responsible for the iconic snare drum sound on the track. The song would go on to hit number one in the U.S., number five in the UK, and number one in Australia.

Today, Dave is still active in the music industry, with recent work including mixing Jonathon Long’s debut album and remixing various Prince releases.

Jack phoned David to discuss his early days, the impact folk music had on him, the experience of hearing the electric guitar for the first time, his time with The Chancellors, his early production work at ASI Studio, recording early Prince demos, the making of Funkytown, the recording and success of Purple Rain, the iconic snare sound on She Drives Me Crazy, and his more recent work.

"We were in the moment. There’s no way you could know that this was going to be iconic... you just don’t know." — David Rivkin on engineering Prince’s Purple Rain in this episode of Vinyl Vibes.

Episode Hosted and Produced by Jack Hodgins.

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On this episode of Vinyl Vibes, Jack is joined by J.P. Pennington, guitarist and co-lead vocalist of Exile. J.P. joined a group called The Exiles in 1964. The following year, in 1965, the band recorded their first single, an original song called The Answer to Her Prayers. The single did not chart, but in 1966, the band had its first big break when they had the opportunity to be a support act on Dick Clark’s Caravan of Stars Tour. From playing small gigs around their local area, the band soon found themselves playing alongside hitmakers such as Paul Revere and the Raiders and Tommy Roe.

In 1973, the band changed its name from The Exiles to Exile. The group released their first two albums on the Wooden Nickel label in the same year, but they didn’t achieve chart success. Exile was soon dropped by Wooden Nickel, but in 1975, the band came to the attention of established Australian songwriter Mike Chapman. Chapman wanted to break into the U.S. music market and began writing songs for the group. In 1978, Exile recorded Chapman’s song Kiss You All Over and signed a three-album deal with Curb Records. Kiss You All Over was released as a single and brought the group immense success, reaching #1 in the United States, New Zealand, South Africa, and Australia. The song is remembered today as one of the signature tracks of the '70s.

After the success of Kiss You All Over, Exile struggled to match that same level of success in the pop music world. In the early '80s, the band decided to shift their musical direction from pop to country music. In 1983, they released their first album as a country band, titled Exile. The second single from this album, Woke Up in Love, written by J.P., became a #1 hit on the U.S. country charts. It was the first of ten consecutive #1 country hits the band would have, bringing the group back into the spotlight.

More recently, Exile released a studio album in 2023 called A Million Miles Later. This double album features a staggering 16 new original songs by the group. The album is available on CD, Vinyl, and USB and can be purchased from the band’s website at exile.biz.

"We didn’t really know what to think! We were all like, 'Can we say that? Can we sing those lyrics?' We had been told 'no' so much that we thought, 'What the heck, what is there to lose?' And they put Kiss You All Over out, and I mean, it shot up the charts like a rocket ship. It was incredible." — J.P. Pennington on this episode of Vinyl Vibes, talking about how Exile’s number one hit Kiss You All Over came to be.

Episode Hosted and Produced by Jack Hodgins

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