Christine Anu was born on 15 March 1970 in Cairns, Queensland, to a Torres Strait Islander mother from Saibai. Anu began performing as a dancer and later went on to sing back-up vocals for The Rainmakers, which included Neil Murray of the Warumpi Band. Her first recording was in 1993 with "Last Train", a dance remake of a Paul Kelly song. The follow-up, "Monkey and the Turtle", was based on a traditional story. After "My Island Home", she released her first album, 'Stylin' Up' which went platinum, and also gained her a position as a spokeswoman for Aborigines and Torres Strait Islanders.
In 1995, Neil Murray won an Australasian Performing Right Association songwriting award for writing "My Island Home". Christine Anu won an ARIA Award for best female recording artist as well as a Deadly Sounds National Aboriginal & Islander Music Awards Award in 1996 for best female artist. Baz Luhrmann asked her to sing on the song "Now Until the Break of Day" on his 'Something for Everybody' album. It was released as a single and the video then won another ARIA award and led to her being cast in Moulin Rouge!.
It took five years for a follow-up to 'Stylin' Up' to be released; 2000's 'Come My Way' made her a mainstream star. The single "Sunshine On A Rainy Day" was a Top 40 hit for 13 weeks in Australia. 'Come My Way' went gold. In 2000 she sang the song "My Island Home" at the Sydney 2000 Olympics Closing Ceremony. Anu has been nominated for 16 ARIA Awards.
On 26 September 2010, she released a new digital only single, "Come Home". This was her first solo single since 2003. On 7 November 2014, Anu released a Christmas album, titled 'Island Christmas'. In March 2018, Anu released a duet version of "Without You" from the musical Rent with Greg Gould. The lyric video featured photography from around the world, each photo with a splash of red for HIV/AIDS support and awareness. 2023, sees Anu continuing to work on her first album since 2015's live album 'ReStylin' Up 20 Years'. The project is using German ethnomusicologist Wolfgang Laade's recordings of Anu's grandfather, Nadi Anu, which are held by the Australian Institute Of Aboriginal And Torres Strait Islander Studies.
Consisting of brothers Bernie Hayes (Falling Joys, Club Hoy), Pat Hayes (Falling Joys), Anthony Hayes AKA Stevie Plunder (The Plunderers, The Whitlams) and drummer Pete Velzen (Falling Joys, Plunderers), the Shout Brothers or the Shouties were renowned for routinely performing at Newtown's Sandringham Hotel ("The Sando") for more than a decade. Between late 1987 and January 1996, The Shouties would play Sunday evening sets at the beloved pub, with the longest break between shows (due to touring, et cetera) being around eight weeks. They released one album 'Colossus' in 1994 with guest musicians Kathryn Brownhill on violin (Whopping Big Naughty, Gadflys), Tim Freedman on keyboards (The Whitlams) and Peter Kelly on trumpet. A second album 'Indelible' followed in 1996.This run of appearances was disrupted when Stevie Plunder committed suicide in 1996. Following a break, during which their beloved Sando underwent a revenue-driven makeover in late 1998, the Shout Brothers have gigged occasionally with the addition of another Hayes brother (Justin), and a number of other drummers taking the place of Pete Velzen from the original line-up.
Members
Stevie Plunder [Anthony Hayes] (guitar, vocals), Bernie Hayes (guitar, vocals),
Pat Hayes (guitar, vocals), Pete Velzen (drums), Andy Lewis (bass), Justin Hayes, Andy Travis (drums), Pete Kelly (drums)
Born on the 16th September 1930 at Millthorpe in the central west of NSW, Nev Nicholls spent his childhood on a farm at Tallwood. Tallwood is not a town merely a district of small farms and in the depression years it was a grind for the whole family to eke out an existence. In 1952 he went to Sydney to put down some custom recordings and was given an audition and then signed with Regal Zonophone. He cut 22 sides for Regal Zonophone, mostly his own material. He then appeared on radio on Australia’s Amateur Hour and Tim McNamara’s Talent Quest. In 1957 Nev did his first country tour with The Reg Lindsay Show up the north coast of NSW. On that show were: Reg Lindsay, Heather McKean, Rick & Thel Carey, Judy Stone and comedian Freddy Merideth also part of that troupe was Chad Morgan.
In 1968 Nev got a call to audition for a night club job in Kings Cross and that led to a ten year stint at the famous Texas Tavern. The Texas Tavern wasn't a job. It was an unforgettable event playing for American servicemen on R&R from Vietnam, meeting celebrities who were making appearances at the Chevron Hotel across the street, and being accepted in the local population, as country music had never been accepted before. This is why Nev wrote "I Like Beer". People who made up part of Nev's band, The Country Playboys sounds like a who's who of the best performers in the country. In 1970 Nev released his first album 'Cross Country Music' on the Du Monde label. This was the vanguard of more than twenty albums in the years to follow.
In 1975 Nev won the Golden Guitar for Instrument Track of the Year with “Nashville Express” as Nev Nicholls’s Country Playboys. In 1977 Nev was inducted into the Hands of Fame. From the late 70s through to 1988, The Nev Nicholls National Roadshow went to air throughout Australia on more than 90 radio stations- a weekly 2-hour show. He also launched a travelling show under the same name, and he toured that show all around Australia starring at various times, Gary Brown, Phil Emmanuel, Lisa White, Debbie Lee Rae (now known as Kaye Payne) and Cowboy Bob Purtell.
As a further string to his bow Nev launched his own record label Nicholls'N’Dimes and in 1992 he was inducted into the Australasian Country Music Roll Of Renown at Tamworth. Nev had always been a prolific writer and besides recording vast numbers of his own songs he had also had many covered by other artists among these were: Reg Lindsay, Chad Morgan, Frankie Davidson, Johnny Garfield, Terry Gordon, The Wayfarers, Truckin Stevens and by no means least his longtime friend Lucky Grills. Lucky and Nev shared an album in 1998, a truckies album of course, titled "Ya Wanna Screw Driver". In 2002 Nev officially retired from country music entertaining. He was then inducted into the Broadcasters Hall of Fame at the Country Music Hall of Fame in Tamworth. Nev died in 2022.
Tin Palley Alley formed in 1969 out of the ashes of that other popular Wollongong band, Reverend Black and The Rockin' Vicars. Adding the Cooper brothers from a band called The Craft, Tin Pan Alley set off north where they took up a residency at a large popular hotel, the Cabbage Patch at Coolangatta on Queensland's Gold Coast. They played songs such as "Aquarius" and "Hair", the 5th Dimension's, "Up Up and Away" and The Beach Boys "I Can Hear Music". This seven piece lineup cut a single " Just for Tonight". This, and its flipside "Every Now and Then", were recorded at EMI studios in Castlereagh St Sydney and produced by Mike Perjanik. "Just For Tonight", with lead vocal in the verses by Dave and four part harmonies on the chorus, was a big ballad with lush strings. "Every Now and Then" was all sung in four part harmony in the style of The Tremeloes or The Bachelors.
Mid year saw them compete in the 1969 Hoadley’s Battle of the Sounds. Going through three heats at Wollongong, Canberra & then the Capitol Theatre in Sydney they on to represent Country NSW as one of the twelve finalists in the National finals held in Melbourne. This was the year too, they competed in Martin Erdmans "Sounds of '69" band recording contest and were one of the winning 26 bands in this contest, who played live before an 8000 strong crowd in July 1969 at the Sydney Showground where they wowed the crowd with a great version of the song "Hair".
In November 1969 came a major lineup change. Just as the single was about to be released, both the Cooper Brothers left to go back to Wollongong from Queensland, where the band had spent much of it's time. The band had a number of gigs in Wollongong coming up including two really big ones, one supporting Russell Morris at The Wollongong Showground on 28 December 1969, the other supporting The Executives and Ronnie Burns at Capitol Hall on 25 Jan 1970 (formerly Wonderland). To this end they quickly acquired a new, rather attractive, member to replace the Coopers, a very young female vocalist, Angela Jones. The new six piece line-up then was Dave Rossall (vocals), Angela Jones (vocals), Stuart Bedford (lead guitar), Laurie Hellyer (bass), Neil Williamson (keyboards) and Dieter Glaser (drums).
This line-up lasted until May 1970 after a residency in Adelaide, when they returned to Wollongong. Firstly Stuart left to be replaced by Ian Davidson, and then Dieter, who was replaced by Terry Gascoigne. It seems that Stuart did not agree with the musical direction the band was taking or the suggestion by their manager George that they dance on stage like a vaudeville show! The new members were a brief attempt at a resurrection but it was short lived. Angela Jones (sister of jazz musician Vince Jones) ended up with the Bootleg Family Band. Some later members of the short lived version, which included Paul Wyld (organ) (ex-The 69'ers), went on to form a band called Kerri Koon. Terry Gascoigne & Paul Wyld later joined Blackfeather's everchanging line-up and Paul will always be heard for his famous piano solo on that bands classic hit, "Boppin' The Blues".
A revived line-up under the name Tin Pan Alley, made up of Phil & Wayne Cooper (vocals), Nick Kouts (vocals/guitar), Nerida McKean (keyboards), John McKean (bass) and Dieter Glaser (drums) played an 18 month residency at a Wollongong licensed club, Berkeley Sports & Social Club, around 1971. They may have been bashing out standards and covering latest hits, and it may have been smoke filled and crowded, but they probably made more money out of it than on the road! During this time it seems Dave Rossall had returned to live in the UK briefly, on the Isle of Man although not remaining long before he returned to Australia. Dieter Glaser continued to play drums, joining up with The Marksmen's, Bobby Kerr, in the 1980's. Paul Wyld died in 1999. David Rossall passed away from lung cancer on 4 January, 2012. He was 65.
Members
Dave Rossall (vocals), Wayne Cooper (vocals), Phil Cooper (vocals), Stuart Bedford, (guitar), Laurie Hellyer (bass), Neil Williamson (keyboards), Dieter Glaser (drums), Angela Jones (vocals), Ian Davidson (guitar), Terry Gascoigne (drums), Paul Wyld (keyboards), Nick Kouts (guitar), Nerida McKean (keyboards), John McKean (bass)
SINGLES
''Just For Tonight / Every Now And Then'' 1969 Columbia
In 1990, four schoolmates from Kanahooka (a southern suburb in Wollongong) - high on the sounds of Dinosaur Jr and Husker Du - formed a band that, in time, would be mentioned in the same sentence as Proton Energy Pills and Tumbleweed. Zambian Goat Herders - named by fellow schoolmate, Ben Varley - first came together to play a band comp at Hurlstone Agricultural College in Sydney. That line-up consisted of Matt Williams (guitar/vocals), Greg Cheyne (guitar), Paul Zanni (bass) and Dillon Hicks (drums). William’s older brother Brent was impressed enough with the band’s debut performance that he wanted a piece of the action. Zanni left, Matt Williams moved to bass and Brent Williams filled the guitar role. The band played a few shows around town including a support slot with an early incarnation of Tumbleweed that featured Dave Curley (ex-Proton Energy Pills) on vocals.
When Curley was ousted from Tumbleweed in 1991 however, the Goat Herders saw an opportunity and set-out to headhunt him for their own band. After some initial reluctance Curley attended a rehearsal and decided to take them up on their offer. Thus the classic line-up of Zambian Goat Herders was born. With Curley came a high energy, melodic influence along with crucial contacts, enabling the band to play regular shows outside their hometown. Brent Williams and Curley moved into Acton Court at the bottom of Crown St, and started regularly writing songs together. The band soon entered Studio Arts in Woonona with Ed Lee and recorded a demo. Reviewing the demo in On the Street in 1992, Stuart Coupe described the Goat Herders as "aggressive, tough, relentless, with moments of brilliance and a take no prisoners attitude."
Around this time, Redback Records was an oasis in a sea of Wollongong mediocrity and focused heavily on stocking 'alternative' music, before the alternative became mainstream. Store owner John Jenkins saw the band perform at the North Gong in June 1992, and although Curley managed to fall off the stage mid-rock pose, Jenkins loved it and walked away with visions of starting a record label with the Goat Herders as his flagship release. As Hicks remembers: "There was no contract, it was all very cottage industry kinda stuff. We paid for the recording, John paid for the artwork and pressing. Promo costs were shared although John probably shelled out more money on the latter than the band did." With the promise of financial assistance, the band again entered Studio Arts with Ed Lee in December '92/January '93 and emerged with the mini-album 'Endorphin'. Redback Records had secured distribution with MDS and funded a video for the lead track ''Starshine''. Jenkins had also hired industry veteran and ex-Polydor publicist Fiona Sommerville to do publicity for the band, all culminating in 'Endorphin' being the highest selling release for MDS in 1993.
Recorded live, 'Endorphin' is a moment of youth documented in audio. Lee successfully captured the sound of five naive, but intensely passionate, kids having the time of their lives. Rolling Stone reviewed 'Endorphin' favourably, RRR added ''Starshine'' to rotation and invited the band in for their 'Live in Your Loungeroom' series, and ABC's Rage played the clip regularly increasing the bands exposure especially to the all-ages audience. The Goat Herders rise to prominence coincided with the explosion of grunge rock from Seattle, and thus the band became overnight hometown heroes. One night they were supporting You Am I and Tumbleweed at the North Gong to 10 people, and six months later they played to 1100 punters at Thirroul Skating Rink.
Outside of Wollongong, the band's sound seemed to resonate with Melbourne audiences first, with audiences in Canberra and Sydney coming around to the highly energised live shows a bit later. These energetic performances landed the band support slots for local heroes Celibate Rifles, Hard-Ons and Front End Loader, as well as international visiting artists Babes in Toyland, Buffalo Tom and Superchunk. Wanting to keep the momentum rolling, the band re-entered the studio to record a follow-up album. Again Ed Lee sat in the producers' chair, but this time the band altered the recording formula. Capturing the drums and bass first, the guitars and vocals were overdubbed later, resulting in the less-than-urgent follow-up, 'Awake'.
On top of the recording problems, the band were also dealing with inner tensions as Curley announced his intentions to leave the band after the albums release, citing personal reasons. Curley loyally committed to a couple of rounds of touring to promote 'Awake'. Furthermore, Jenkins had informed the band that after the release of 'Awake', Redback would not be in a position to finance the band any further. This was primarily due to the slow return he was getting for his investment, and a reflection of the distributor as opposed to the Goat Herders.
True to his word, Curley left the band in '95. One of his final gigs though was an all-ages afternoon show at The Metro supporting Tumbleweed. The band were late setting up, and feeling a little unsure what the future held for them. Following Curley's departure, the remaining four members vowed to keep moving, shifting vocal duties to the Williams' brothers. The band set about writing an all-new set, no longer comfortable playing Curley-era songs. Over the preceding couple of years the Goat Herders had struck up a tight friendship with Bodyjar, and the final Goat Herder recordings show a decidedly more pop-punk sound than the garage-rock they'd become renowned for.
An ill-fated tour to Melbourne followed and the band returned home to play what was to be their final show at an all-ages gig at Wollongong Youth Centre. Though their existence was brief, the Zambian Goat Herders proved that living in Wollongong was not a barrier to success. And why should it have been? Talking to Ian Gostelow for Tertangala Curley said: "I... get a bit angry about the provincial attitude that some people tend to have towards Wollongong... Wollongong is a nice little scene... it's a lot of fun because you get a lot of support."
Years later Hicks also recalls this camaraderie: "I remember being in Melbourne touring, maybe early 1993, the same weekend that both Whose Muddy Shoes and Tumbleweed were in town on unconnected tours. ZGH were sitting in a hotel room in St Kilda with the radio on and Whose Muddy Shoes were being interviewed. The announcer was trying to paint Wollongong as a blues town, but the band were like: "What would you know?" They started going on that Tumbleweed were in town and they were heavy as fuck, and the Goat Herders were also in town and they all high-energy pop, and Whose Muddy Shoes were in town and "We're fucking blues, man".Those guys sticking it to the announcer really summed up the camaraderie that existed between Wollongong bands of all different genres at the time." The musical legacy left behind by the Goat Herders is pivotal to Wollongong's musical tapestry, without which bands countless other bands may not have even formed.
Members
Matt Williams (vocals, bass), Greg Cheyne (guitar), Dillon Hicks (drums), Paul Zanni (bass),
Brent Williams (vocals, guitar), Dave Curley (vocals)
