About

Hoodoo Gurus (referred to as the Gurus by fans) are an Australian rock band, formed in Sydney in 1981, by the mainstay Dave Faulkner (songwriter, lead singer and guitarist) and later joined by Richard Grossman (bass), Mark Kingsmill (drums), and Brad Shepherd (guitar, vocals, harmonica). Their popularity peaked in the mid to late 1980s with albums Mars Needs Guitars!, Blow Your Cool! and Magnum Cum Louder.

Hoodoo GURUS “A Thousand Miles Away” from HEY HEY IT’S SATURDAY broadcast 18.10.1986

History

Hoodoo Gurus had a string of acclaimed pop-rock singles including “Leilani” (1982), “Tojo” (1983), “My Girl” (1983), “I Want You Back” (1984), “Bittersweet”, “Like Wow – Wipeout!”, and “What’s My Scene?”. After touring the United States from 1984 onwards they gained popularity on the U.S. college rock circuit with singles “Come Anytime” (1989) reaching #1 and “Miss Freelove ‘69? (1991) reaching #3 on the Billboard Modern Rock Tracks chart.[6] Gurus’ biggest Australian hit single was their 1987 Top 3 hit song “What’s My Scene?” or, as modified for the National Rugby League 2000s theme, “That’s My Team”.

Hoodoo Gurus’ iconic status on the Australian rock scene was acknowledged when they were inducted into the 2007 ARIA Hall of Fame. Their induction announcement stated that the Gurus were one of the most “inventive, lyrically smart and exciting” bands from Australia. From 1960s power pop, and wild garage punk to hard driving rock and funky psychedelic kitsch their music stood out from Sydney’s Detroit-inspired bands.
(source Wikpedia)

Members

• Dave Faulkner – Vocals, Guitar
• Brad Shepherd – Guitar, Vocals
• Mark Kingsmill – Drums
• James Baker – Drums
• Clyde Bramley – Bass
• Rick Grossman – Bass
• Rod Radalj – Guitar
• Kimble Rendall – Guitar

Recordings

• Stoneage Romeos – 1984
• Mars Needs Guitars – 1985
• Blow Your Cool – 1987
• Magnum Cum Louder – 1989
• Kinky – 1991
• Electric Soup – The Singles Clooection – 1992
• Gorilla Biscuit – 1992
• Crank – 1994
• Blue Cave – 1996
• Electric Chair/Armchair Gurus – 1998
• Bite The Bullet – 1998
• Ampology – 2000
• Mach Schau – 2004

Resources

• http://hoodoogurus.net/
• Howlspace

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About

The Hitmen were brash, bombastic and derivative. They were also victims of their status as the first in a long line of Australian underground bands of the late ‘70s to cross the battlelines and take their rock and roll campaign to the suburbs. The Hitmen peddled a broad mix of metallic pop, flamethrower Detroit rock and re-vamped ‘60s standards, as well as their own wide range of originals.

With their roots in the groundbreaking Radio Birdman, the Hitmen sought overground success and clearly influenced dozens of bands that followed in their wake.

That their status as one of the Australia’s hardest-working bands never translated to huge record sales probably came down to the fact that the major labels that courted, and signed, the band had no idea what to do with them.

But the thousands of fans whose ears they opened to new sounds did – and voted with their feet by packing venues the length and breadth of Australia.
from The Hitmen Story

History

The Hitmen were originally an outgrowth of Radio Birdman, with most of its membership passing through the ranks of what was originally a party band.Their all-enduring member was frontman Johnny Kannis, whose Greek-Australian lineage didn’t preclude him from being a descendant of the Dictators’ Handsome Dick Manitoba and Elvis Presley. He leaned his stagecraft as Radio Birdman’s Master of Ceremonies and one-half of their back-up singers The Glutonics. The other constant in all but one post-Birdman Hitmen line-up was Chris “Klondike” Masuak, a Canadian-born teenage schoolmate of Kannis and close spiritual guitar kin of James Williamson and Ross the Boss.

Johnny and The Hitmen became The Hitmen soon after Birdman collapsed in on itself, reaching well beyond the radiitonal inner-Sydney haunts and staking a claim for the hearts, minds and dancing shoes of suburbia. With high-energy music breaking out all over Australia, The Hitmen became big business, signing to a major label and becoming part of “the industry”. Just the sort of behaviour to burn bridges with fickle inner-city fair-weather friends.Carrying themselves with a swagger born of near fanatical self-belief and arrogantly brushing aside any detractor or musical pretenders deemed to be not up to the mark, The Hitmen were impossible to ignore.

Shifting line-ups and a music business that didn’t know what to do with their derivative but always entertaining stock-in-trade meant The Hitmen never quite broke through to the big time. They were a band that packed ‘em in live but their albums (“The Hitmen”, “It Is What It Is” and “Moronic Inferno” in the studio, “Tora Tora DTK” live) never did the proportionate numbers in sales. Nevertheless, scores of beer and testosterone-fuelled Aussie youths grew up with the hard rock soundtrack that The Hitmen provided ringing in their ears, and discovered some fine music in the deal.

A near fatal car accident in 1983 all but buried Johnny Kannis and the band in the process, but for more than a decade, off-and-on, The Hitmen carried a torch for hi-energy fun. Kannis’ injuries hampered his on-stage activities to the extent that he mostly moved into band management. A farewell tour and the occasional re-emergence (with the appendage “DTK” to the band name, to avoid an overseas copyright clash) kept things simmering into the mid-’90s, when Kannis’ move interstate took the wind out of the sails. Rumblings of a reunion tour have been constant.
from i94Bar.com

Members

• Peter Banesevic – Guitar
• Clyde Bramley – Bass 1978
• Alan Brown – Drums – 1978
• Charlie Georges – Guitar 1977-78
• Warwick Gilbert – Bass, Guitar 1977, 1978-81
• Steve Harris – Keys, Guitar 1978
• Ivor Hay -Drums – 1978-79
• Richard Jakimyszyn – Guitar, Vocals 1984
• Johnny Kannis – Vocals
• Ron Keely – Drums 1977
• Mark Kingsmill – Drums 1979-84
• Chris Masuak – Guitar
• Angie Pepper – Vocals 1977-78
• Geoff Peterkin – Drums 1979
• Lynne Phillips – Vocals 1978
• Tony Robertson – Bass 1982-84
• Brad Shepherd – Guitar 1981-82
• Phil Somerville – Bass 1978-79
• Tony Vidale – Guitar 1979-81

Recordings

Singles

• Didn’t Tell The Man – 1979
• I Want You – 1980
• I Don’t Mind – 1981
• Bwana devil – 1982
• Everybody Knows – 1982

Mini Album

• U.E.L.A.

Albums

• The Hitmen – 1981
• It Is What It Is – 1982
• Tora Tora DTK – 1982
• Compilation 1978-82 – 1988

Other Resources

• The Hitmen Story
• i94Bar

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About Heaven

HEAVEN was a boogie -based heavy rock band with similarities to the likes of The Angels and AC/DC, the link to AC/DC continued with Michael Browning, previous manager of AC/DC who helped HEAVEN to make an impact internationally courtesy of a worldwide deal with RCA Records . The band concentrated on Hard Driving yet melodic Heavy Metal and garnered strong sales in Europe and North America. HEAVEN’s original featured ex-FAT LIP and HEROES vocalist and mainstay Scottish born Allan Fryer alongside guitarist Kelly of SWANEE, former HEROES, Haese from FAT LIP and ALMOST HUMAN bassist Laurie Marlow and another FAT LIP refugee drummer Joe Turtur.
from the Heaven website.

History

**Note** I have had several readers confirm that Mark Evans did NOT play bass in Heaven despite what the following quote from their site says. Because it’s a quote though, I can’t really edit it so please bear this note in mind. Sorry Laurie & Mark!!

HEAVEN basically evolved from the split of Adelaide outfit FAT LIP, which comprised of Fryer, former CHEEK bassist Felix Maslin, former SCANDAL drummer Aldo Civitcio and guitarist Steve Francis. Both Maslin and Francis left to create FAST FOOD as Fryer and Civitcio regrouped FAT LIP with Haese and Marlow. Before long Turtur had taken over on drums. Fryer then left to travel to Sydney to audition for AC/DC following the death of Bon Scott. As AC/DC announced Brian Johnson as their new vocalist Haese, Marlow and Turtur arrived in Sydney to reforge the band under the new title of HEAVEN.

The band issued the single “Fantasy” and a debut album ‘Twilight Of Mischief’ before Haese was replaced in early 1982 by former ROSE TATTOO guitarist Mick Cocks as the band relocated to Los Angeles. The debut album ‘Twilight Of Mischief’ was later re-released by CBS Records with a new cover, revised track listing (Tuesday Morning was replaced with In the beginning) and a new album title of ‘Bent’, as a New York band already had the rights to the HEAVEN tag over there so the album was released as Heaven Bent . In America the band opened up shows for JUDAS PRIEST, BLACK SABBATH and KISS.

During the bands existence, HEAVEN underwent several line-up changes. Cocks and Turtur were ousted in favour AC/DC, FINCH and BEAST bassist Mark Evans on guitar and former SWANEE, BEAST and DALLIMORE drummer John Lalor. This line-up was not to last long. The second album found only Fryer remaining from the original line up now sharing the spotlight with guitarists MITCH PERRY (previously with STEELER), bassists Dennis Feldman of MICHAEL SCHENKER GROUP, ex-DUKES man Bruno Renzella and another erstwhile DUKES member drummer Tommy Dimitroff. HEAVEN later added ex-RICK DERRINGER guitarist Mark Cunningham.

1983′s ‘Where Angels Fear To Tread’ boasted some impressive guests in former RUNAWAYS star LITA FORD and former DEEP PURPLE man GLENN HUGHES. BLACK SABBATH’s Ronnie James Dio also adds backing vocals under the pseudonym ‘Evil Eyes’. A single version of ‘Bob Dylan’s ‘Knockin’ On Heavens Door’ gained valuable radio play for the band in 1985. The band also drafted guitarist Bobby Enloe. However, HEAVEN folded shortly after.

In 1985 Marlow joined BOSS but was usurped the following year by the very same man that took his position in HEAVEN – Mark Evans. Perry was to turn up as a member of MICHAEL SCHENKER GROUP. Ex-HEAVEN personnel Haese, Evans, Marlow and Turtur together with ex-BLACK ALICE singer Rob Hartley created HELLCATS. Enloe joined SIC VIKKI.

By 1989 Evans and Haese had formed another new act MAMA’S DARLINGS with former ROSE TATTOO members guitarist Robin Riley and drummer Scott Johnson with ex-TOUGH LUXURY singer Stuart Cave.
From 1989-1993 the HEAVEN line up consisted of frontman Alan Fryer, ex-Thin Lizzy guitarist Brian Robertson and ex-Dio bassist Jimmy Bain and on lead was Greg Belt from FORCED ENTRY.

HEAVEN would reunite to guest for JUDAS PRIEST’s November 2001 Australian tour. The line-up for this tour was Alan Fryer, Laurie Marlow, Theo Kats (drums), Kevin Pratt (guitar) and Ross Flynn (guitar). A re-issue of HEAVEN’s ‘Where Angels Fear To Tread’ and Knockin’ on Heavens door added six bonus tracks (one unreleased track and 5 live tracks from BBC rock hour CD)
from the Heaven website.

Members

• Allen Fryer – Vocals
• John Haese
• Kelly (Bradford) – Guitar
• Joe Turtur – Drums
• Mark Cunningham
• Tommy Dimitroff – Drums
• Mark Evans – Guitar
• Dennis Feldman
• John Lalor – Drums
• Laurie Marlowe – Bass
• Mitch Perry
• Bruno Rezella – Guitar
• Mick Cocks – Guitar
• John Layland
• Theo Kats (Antoni) – Drums
• Brian Robertson
• Jimmy Bain
• Greg Belt
• Kevin Pratt – Guitar
• Ross Flynn – Guitar
• Bobby Enloe
• Chris Caffery
• Tony Taylor
• Brad Dunn
• Brian Christian
• John Richards

Recordings

• Twilight Of Mischief – 1982
• Where Angels Fear To Tread – 1983
• BBC Rock Hour Live – 1984
• Knockin On Heavens Door – 1985

Other Resources

• Heaven website.
• Allen Fryer Interview

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Stage diving and crowd surfing is a phenomenon that has become popular over the last 10 or 15 years. The idea being that after diving from the stage, the crowd will catch you and you won’t end up on your arse on the floor. When the crowd is in good form you can stay aloft for quite awhile.

This is what it looks like when all goes to plan. From a Celibate Rifles gig on the Sunshine Coast.

When it doesn’t work, it can occasionally lead to tears. I was having a bourbon with my Brother on the weekend when he told me a funny story I thought I’d share here.

He was working with the Hoodoo Gurus on their last ever tour and was doing a gig at Sawtell RSL on the NSW north coast. The club is typical of most. Stage, dancefloor then an area for tables & chairs all set up in nice long rows. Quite often you will set up the mixing position at the rear of the dancefloor in front of the tables. This is usually an unobtrusive spot but, depending on the act and venue, you still need to create a “bunker” out of roadcases to keep the punters and their drinks off the gear when they get rowdy.

This particular night the band and crowd were in great form and the stage diving was progressing well. Suddenly my brother noticed a guy at the back of the room. He had climbed onto the table and seemed to be trying to work out whether he could dive from the tables, over the mixing bunker, and into the crowd from the rear.

Off he went at blinding speed along the tables with drinks flying everywhere. After a few stumbles along the way, he hit the end of the row of tables at pace and launched himself into the air. Having underestimated both the distance and his ability to fly he ended up landing face first on the mixing console which knocked him out cold! Security was called and the guy was carried off for treatment. This all came as quite a surprise to the poor bugger standing there operating the sound gear that night. They normally don’t attack from the rear.

My brother says they spent quite a while on their hands and knees looking for knobs that the guy knocked off the mixer with his face. They didn’t find them all and he still suspects that the guy left that night with a mixer knob embedded in his forehead!

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