THE BLUES BROTHERS REVIVAL BAND 

“The Blues Brothers Revival Band” first formed in 1983 in Townsville, Queensland. Original bookings were just local, however with many changes along the way tours eventuated well in to the 1990’s and beyond. Tour destinations included every state in Australia and then on to New Zealand, the biggest audience being 11000 people at “Expo” in Brisbane 1988. This made The Blues Brothers Revival one of the first, most successful and longest running concept bands in Australia.

During this period, publicity was maintained by appearances on such television shows as Countdown, 60 Minutes, Rock Arena, Simon Townsend Wonder World, Midday Show and Hey Hey it’s Saturday.

 Obviously since the 1980’s many things have changed and after taking a break from touring between 1997 and 2004, the original Jake (Styne Ashton) and a great new Elwood (Darren Sangwell) have joined forces  and both are ready to have you dance your socks off. They can party anywhere, from sweat drenched pub gigs to a family oriented Carols by Candlelight event.

Backing them is a 6 piece ensemble of musicians from bands behind Australia’s biggest names Jimmy Barnes, Marcia Hines, Brian Cadd, Glen Shorrock, Cold Chisel, and Mental As Anything, and international star Leo Sayer. All this happens as they are led by long time collaborator, Musical Director and lead guitarist Jim Laing.

The show consists of 2 sets totalling over 2 hours of non-stop crowd orientated fun that features most songs from the movie, Shake your tailfeather, Sweet Home Chicago, Everybody needs somebody to love and the crowd favourite Minnie the Moocher. All songs are complete with dance routines and classic lines from the movie.

The fun factor makes the band very versatile and appealing to all ages from ages 8 to 80.

Nearly 25 years after they pulled on the iconic Pork Pie hats and Ray Ban sunnies Jake and Elwood are still rockin’ out and runnin’ from the law in their trusty “Blues Mobile” (black and white dodge). This can be seen closely followed by Police pursuit cars manned by state troopers. 

……So If you have forgotten what its like to have fun, grab your hat n sunnies and take a trip back to Chicago to shake your tailfeathers… with the show band of Joliet Jake and Elwood Blues….

“We’re on a mission for fun”

THE RADIATORS – Australia’s Hardest Working ROCK Band

 Few survive the Rock ‘n’ Roll road to stardom but THE RADIATORS are Rock’s greatest survivors!  They are approaching 30 years of outstanding music, exciting and sometimes controversial lyrics, more than 4,000 electrifying live performances and platinum and gold album sales.

 THE RADIATORS debuted late 1978.  Their first album “Feel the Heat” was released late 1979 and by March 1980 these Aussie Rock Icons had achieved platinum status.

 Little did they then know they would go on to forge a unique sound and influence thousands of music lovers throughout Australia.

 Since 1978 THE RADIATORS have achieved many “firsts” –

• First Australian Band to have advance/presales on a debut album (6,000 copies of “Feel the Heat” had been sold before it was released);
• First Australian Band to achieve platinum status and a Top Ten position with their first two albums;
• First Australian Band to play more than 320 gigs in their first year of formation;
• One of very few Rock Bands worldwide to have survived so long with their original frontline intact.

 Little did anyone realise back in 1978 that this Band would still be together, still hugely popular and still producing quality music in the new Century with still with no signs of slowing down.  The music from their more than one dozen albums has produced hits and anthems for their dedicated fans, culminating in the release of an historic and very special 25^th Anniversary Album in 2004.

 This is what great home made Aussie Rock is all about!

 Travelling thousands upon thousands of kilometres up, down and across the length and breadth of their vast country, THE RADIATORS have carved a niche in the annals of Aussie Rock history.  They have headlined and shared the stage with other great Aussie acts such as AC/DC, Rose Tattoo, Dragon and INXS.  THE RADIATORS have played their music to more than two million people in Australia and have national sales totalling more than half a million.

 THE RADIATORS have gained legions of international fans after smash hit shows in London and the rest of Europe, including an historic tour of Brazil.  The rest of the world has finally discovered what we Aussies have known for years – these boys are the greatest!

 Despite the rigors of touring and the passing of years, the spark and energy of THE RADIATORS has not diminished.  They continue to do what they do best – tour extensively, play an average of 150 times per year and delight the legions of fans both young and old who still flock to grab a slice of living Aussie Rock history, rocking the night away to the great catchy songs and classic hits that have made THE RADIATORS a household name in Australia!

Memories fade and music brings them back to life again. Can you remember what you were doing in 1967 when the airwaves were filled with the melodic tunes of the soon to be super-group the “Bee Gees?” or were you lacing up your platform shoes and donning those wide lapels in the late seventies only to come down with an incurable case of “Saturday Night Fever?”

With the extremely successful “One Night Only” Tour and subsequent CD and DVD sales, and now with the never to be repeated live performances only a memory. The audience now has the chance to enjoy an evening of music and those unmistakable vocal tones of the Bee Gees.

The Very Best of the Bee Gees is a two hour complete discography of the Bee Gees finest songs. A live eight-piece band presents this historical journey from 1967 to 1999 and every song played is live with no recording or sequencing. The Show boasts approximately thirty tracks in two sets beginning with such songs as “New York Mining Disaster” and “Massachusetts,” through the Disco period of “Stayin’ Alive” and “Night Fever” culminating with their current hit “Alone.” The Very Best of the Bee Gees is performed with full four part harmony as it sounds on the original recordings.

 For some of the very best memories come see the Very Best of the Bee Gees.

This first class presentation will leave you wanting more.

A self-explanatory single to reflect their success, The Nips Are Getting Bigger, rose through the charts as did their fundamental understanding of the old adage that ‘for every action there is a reaction’. Ahead lay a very lengthy pub crawl which only the accomplished could survive.

1977- 16th August (the night Elvis died). MENTAL AS ANYTHING (Reg Mombassa, Greedy Smith, Martin Plaza, Wayne ‘Bird’ Delisle and Peter O’Doherty) perform together for the first time at the Cellblock Theatre, East Sydney Tech. Start a year long residency at the Unicorn Hotel, Sydney (using the pool table as their stage).

1978 – Move to the Civic Hotel, Sydney, for another year long residency on a larger stage.

1979 – The Nips Are Getting Bigger and the album Get Wet hit Top 20 in
Australia. Nips released in UK, reaches indy Top 40.

1980 – Come Around off the album Espresso Bongo hits Top 20. Release another hit single (Just Like) Romeo and Juliet Dec ‘80

1981 – If You Leave Me Can I Come Too? & Too Many Times, two of the year’s biggest singles off the Platinum Album Cats And Dogs. Too Many Times goes to number 19 in Canada.

1982 – Tour USA. Release single I Didn’t Mean To Be Mean (produced by Elvis Costello). First single, Close Again, from the album Creatures Of Leisure. Band tours U.S and Canada.

1983 – Spirit Got Lost & Brain, Brain released off Top 10 album Creatures Of Leisure. Also release cover of Roy Orbison’s Working For The Man. Too Many Times hits Top 20 in Canada as the band tours Canada and USA
- First Group Art Exhibition, with works by each of the band members, held at Watters Gallery, Darlinghurst (Sydney). Buyers included Patrick White and Elton John. (White later bequeathed one of Reg’s works to The Art Gallery of NSW)

1984 – Apocalypso (Wiping The Smile Off Santa’s Face) the band’s only Christmas single

1985 – Fundamental As Anything – Platinum Best Selling Australian Album
- Live It Up – Best Selling Australian Single
- singles You’re So Strong( No. / Date With Destiny(No. 18)
- multi platinum Greatest Hits Vol I goes to No. 2 on the charts
- Live It Up received Apra award for most performed work and Countdown award for best single and song writer.

1986 – Live It Up –no.1 in Scandinavia No.2 in Germany and No.3 in the U.K
- Band tours UK, Holland, Spain and Italy (Band wins coveted Telegatto award on Italian TV)

1987 – Release Top 20 album Mouth To Mouth. Singles Let’s Go To Paradise & He’s Just No Good For You also enter Top 20.
-Also release a Top 40 cover of Elvis Presley’s Love Me Tender
- Band tours UK again and then N.E. USA and Canada with Robert
Palmer.

1988 – Rock & Roll Music from the film soundtrack YOUNG EINSTEIN reaches No. 6 on the charts

1989 – Another Top 40 Album – Cyclone Raymond with the No.15World Seems Difficult and top 5 hit Rock n Roll music.

1990 – Then deputy Prime Minister, Paul Keating, opens second Mental As Anything Art Exhibition with works by all five Mentals attracting huge critical acclaim. It tours Tamworth at the Country Music Festival, travelling on to Melbourne, Lismore, Campbelltown and back to Sydney.

1993 – Release B Sides and rarities album Chemical Travel

1994 – Bicycle EP Tour – limited copies of the EP given away to loyal fans around the country
- Radio picks up Mr Natural off the Bicycle EP CD sampler

1995 – The album Liar, Liar Pants on Fire enters the top 40, to glowing reviews, and the single Mr Natural hits Top 30. Two other singles are released – Nigel, which instantly becomes a radio hit, and Whole Wide World, a cover originally written and recorded by Reckless Eric.

1996 – Marianne, the final single from Liar, Liar…, is released and the band retreat into the studio to work extensively on their new album., An appearance at the Mountain Rock Festival in New Zealand, followed by the Australian Tour with Chris Isaak and a tour of New Zealand with The Exponents.

1997 – Release Garage LP. Mentals III art exhibition opened in Sydney by ex- PM Gough Whitlam. This exhibition then tours Australia continuously till late 2002.

1998 – Tour UK

1999 – Bass Player Peter O’Doherty leaves the band after 22 years to concentrate on his painting. He is replaced by the Exponents’ Dave the “Duck” Barraclough.

2000 – Band plays in Vietnam. Reg Mombassa leaves the band after 24 years to concentrate on his painting and his artwork for Mambo surf wear. While touring heavily around Australia. Mentals find the time to record Beetroot Stains.

2000 – “Fine line” single is given high rotation on Triple J. Album Beetroot Stains released followed by the Borscht EP. Band plays London, Glasgow and Dublin.

2001 – Kiwi Guitarist Mike Caen (Credits include Dragon, Margaret Urlich and Jenny Morris) joins to replace Murray Cook. Late in the year the Roadcase album is released.

2002 – Roadcase tour of Australia.
2003 – On August 16th 2003, the Mentals filmed their 26th Anniversary Party at The Basement in Circular Quay. The resulting live DVD,”Basemental”, was released on the 28th of May.
2004 – Drummer Dave “Bird” Twohill leaves and is replaced by Robbie Souter (ex Dynamic Hepnotics and Slim Dusty). Commencement of acoustic project “Plucked” for Liberation Music – mainly acoustic versions of some of Mentals better-known songs. The year also includes a heavy Australian touring schedule.
2005 – January – Tasmanian tour February – WA March – Bangkok and Victoria. Completion of “Plucked” for a mid year release. Preproduction begins for an album of new original material. June – Martin Plaza painting exhibition.
“Plucked” released in November and debuts at number 15 on the AIR (Australian Independent Album) chart.
2006 – Touring Australia interspersed with recording for the new album. The band line-up feels rock-solid and sounds better than ever before.

Stylus became the first all white band to be signed by U.S. Company Tamla Motown, and had moderate success internationally under the Motown banner.

Stylus split in 1980 and Peter went solo achieving a top twenty with his first release ‘Fear of Thunder’, ‘Blame it on the Weather’ was also a success not only for Peter, but also for John Farnham, as a part of his rea mergence.
Peter became a regular on the Midday show after doing a song called ‘Happy Ending’ to close the Opening of the entertainment centre in Sydney, a channel nine spectacular.

Peter became a regular with all variety shows, ‘Hey Hey it’s Saturday’ ‘Tonight Live with Steve Vizard’ ‘I.M.T’, ‘G.M.A.’ still today, and fifteen years of ‘Carols by Candlelight’ Christmas Eve at the Myer Music Bowl.

Peter works with many charity’s, recently writing songs for the ‘Make a Wish Foundation’ and the ‘Sacred Heart Foundation’.
Peter also wrote the song ‘Best of the Best’ for the racing hall of fame, and the Kangaroo’s team of the century tribute.
Peter has done many main events, but none bigger than opening for Frank Sanatra at sanctuary cove.

He has written and recorded many albums over the years, and also has put Stylus back together from time to time for live shows, and in 2003 Stylus recorded a live album called ‘Still Alive’. In 2005 Peter released ‘Bac2basix’ a real roots album with lots of wonderful story telling songs, such as ‘Pioneers’, ‘Family’ and the ‘Poor mans Al Jolson’.

In 2006 Peter put a show together with friend and college Jon English called ‘Uncorked’ a wonderful show of nostalgia and good humour, which has been delighting audiences throughout Australia.

In late 2007 Peter released ‘About Time’ an album of standards with some very fine original arrangements, once again to show his incredible versatility.

‘About Time’ was an instant success both here and overseas, with Peter going to Japan in November to perform at a large jazz festival, he is now in negotiations with other major jazz festivals around the world.

The Cupples story is one that is ever changing, the latest project Peter is working on, is a musical, so if the past is any indication of the future, this will be really something to look forward to.

You can check out Peter @ www.petercupples.com also petercupplesmyspace and there are some live acoustic songs by Peter on utube.

I was born in Malta, the third of 10 children. We moved to Australia when I was two. In Port Melbourne, in the 1950s and the start of the ’60s, I first heard rock ‘n’ roll – Hit The Road, Jack, and Frankie Laine.

My father played the tuba, and my brother played the piano accordion – two things I could have done without!
As I kid, I would steal Shadows records. I was the typical Catholic kid: On one shoulder, there was the devil, going, ‘Take it!’. On the other, was an angel, going, ‘What do you think you’re doing?!’

It wasn’t until the ’60s that you could get really good records. It was very difficult to find any blues records. I think Ross Wilson was one of the first people I knew who had Muddy Waters records and Bo Diddley and Chuck Berry.
I never thought I’d be a musician, I just loved music.

In 1964, I fell into being in a band – literally. We went to see a band called The Drollies and my friends, wanting a bit of a laugh, threw me up on stage. Suddenly, I was in the band as their lead singer.

The guitarist had a cherry-red guitar. He was a pastry cook. My buddy was the drummer. I played the bass as well as singing. It was just the three of us, but we made an incredible racket. I was working as a storeman at Australian Motor Industries. I would take the bass in and practise when no one was looking. It took me weeks to learn how to play The Last Time.

It became very apparent I was never going to be a bass player, so we got another guy on bass.
Our first gig was at Rosebud. It was incredibly exciting. I think Bobby and Laurie were on the bill. They sounded like a real band, while we were as close to Captain Beefheart as we could get.

Our second gig was a mod ball at Caulfield Town Hall. It was a big bill with, I think, the Easybeats, Normie Rowe and the King Bees. We were on first – we were always on first – but we were a lot better because there had been three weeks between gigs. The King Bees spotted me and because they didn’t have a singer, they asked me to join. The band included Peter Starkie, who was later a founding member of Skyhooks, and Dave Flett, who later joined the Captain Matchbox Whoopee Band. They played all the stuff on the radio, the Beatles and the Stones. I joined the band that night.

Dave made a big difference to me. He knew about the blues and he introduced me to jazz. But then Dave and Peter decided to go to university, so I was a bit lost.

I ended up joining the Adderley Smith Blues Band. Broderick Smith had been the singer, but he got called up for national service. Then they had a guy called Langford Lever, but they sacked him just before a big gig at Dallas Brooks Hall. Someone suggested me. The band thought I could sing in English, but not speak a word of English, which I thought was pretty funny.
I had just two rehearsals before the show, and I think I was a bit more adventurous with my clobber than the rest of the band. I was wearing a green shirt and pink trousers, while they wore their denim. During the show, Langford Lever turned up. He was very upset. The audience went wild when they saw him, and he pushed me out of the way and started singing.
I lasted about a year in the Adderley Smith Blues Band. It was fun, and it was great to connect with Kerryn Tolhurst, who later formed The Dingoes, who I loved. But my tastes were changing – I’d gotten into Miles Davis’ Bitches Brew and John Coltrane’s A Love Supreme.
I still felt like I was a part-timer. I was more of a music fan than a musician. I was spending every cent I had buying records at Batman Records. That was my life.

Then I joined Lipp And The Double Dekker Brothers, a band that also featured Peter Starkie, Dave Flett and Jane Clifton. This was the start of me getting serious.

I heard Eric Dolphy and decided I wanted to play the saxophone. It was 1971, I was 23, and I was in the city, bored. Russell Street had a lot of music shops in those days, and I walked into Clements – they had a sax in the window for $32. I bought it. I got it home and it was really dirty, so I chucked it in the bath, ruining all the pads. It was shiny, but unplayable.
I’ve still got that sax.

With Lipp And The Double Dekker Brothers, we were experimenting with the blues. Everything was elastic and free. We were listening to Robert Johnson, but trying to play it like John Coltrane. Captain Beefheart’s Trout Mask Replica became my bible. I used to love everything about it. I was writing poems. Everything was so abstract.

Unfortunately, Lipp And The Double Dekker Brothers disbanded. In August 1973, I went on the road with Dave Flett and Peter Starkie. Peter chose a stripper over the Skyhooks. He quit the Hooks to join a band called Roger Rocket And His Millionaires with Dave Flett and I. We played a strip joint in Fitzroy Street, St Kilda, where we met a stripper named Mary “Doody” Scott Pilkington and her manager, Paul Madigan.

Paul organised a tour of mining towns in WA, where we’d be Doody’s backing band. We were also her roadies and security.
We wore white boiler suits, with our names emblazoned on them. I think Doody was the first stripper who actually took everything off, so the police would turn up, to shut down the show – which was good news because it would generate publicity. But the tour fell apart when we hit Port Hedland. I’m not sure that the Walkabout Hotel knew what they were getting. I used to do a Lou Rawls-like monologue during the show. This night, I decided to do “The Walkabout Blues”. I rapped about the chicken that got up off the plate and walked away, that sort of thing. The wife of the manager was furious, and they stopped the show. I remember hiding under a car because we couldn’t get out of the car park. It was the first time I’d been run out of town.

Back in Melbourne, I joined two bands at the same time – The Pelaco Brothers and The Sharks.
The Pelaco Brothers – with Stephen Cummings, Peter Lillie and Johnny Topper – played rockabilly and country, whereas with The Sharks, we wanted to be incredibly “free”. I guess I was just trying things out. It was frustrating, in a way, because I couldn’t play very well, but the knowledge I was getting was priceless.

Jeff Burstin and Wayne Burt were in a band called Rock Granite. Jeff was also in Company Caine with John Power. They decided they wanted to do something new. They liked The Pelaco Brothers, so they asked Stephen and I to come to a rehearsal. The idea was that Stephen would be the lead singer of the new band. “This is going to be good,” I thought. But a couple of days later, Stephen said: “I think I might start my own band.” A few months later, he had started The Sports, while I became the singer in The Falcons.
So where did the name “Jo Jo Zep” come from? Well, my mum always called me “Zep”, so I was calling myself “Jo Zep”. Then I was “Jo Soap”, which I thought was really good, and it was so bad. For a while, I considered “Jo White”, but then we came up with “Jo Jo Zep”. I added “The Falcons” and it was perfect.

The first Jo Jo Zep release wasn’t credited to The Falcons. Ross Wilson had his label, Oz, and he was really keen for us to record something, so I covered Chuck Berry’s Run Rudolph Run. I performed it on Countdown’s Christmas show in 1975 – it was my first Countdown appearance.

The first Jo Jo Zep and the Falcons album, Don’t Waste It, was a heart-breaking experience. We had so much energy live, but I didn’t know how to capture that in the studio. The band kept on getting bigger live, but we couldn’t sell any records – until Screaming Targets came along in 1979. With Hit And Run and Shape I’m In, the album was a smash. Hit And Run even sounded better on record than it did live. We were ready.

Screaming Targets started getting play on American college radio and started to chart. Our guy there organised some great gigs. We would play small venues, but the shows were broadcast live on radio all over America. The biggest show of the tour was one of Bill Graham’s “Day On The Green” concerts, at the Oakland Coliseum on July 27, 1980. Journey, Black Sabbath and Cheap Trick were the headliners. We were the first band on. I don’t think the crowd was ready for our semi-reggae act. A couple of songs into our set, they started throwing stuff. As I ducked and weaved, I decided to say something. Big mistake. I said: “Is it any wonder your parents lost the Vietnam War – you can’t even shoot straight!”

Whatever they were keeping for the other bands, they threw at me. I said: “I can take you on one at a time!” I don’t know what I was thinking – I couldn’t take on anyone at any time. Bill Graham even came out to calm the crowd, telling them: “This is no way to treat this band, it’s no way to treat any band. Show them some respect.”

On one level, it was the worst experience of my life, but I just wanted to stand up for my band.

That night we did a club show and the guys from Journey turned up. They apologised for the festival crowd, which was a nice thing to do.
By the end of the Falcons, I was losing my grip. It was fun when we were playing, but not when we weren’t. There was so much administration. I think the Falcons made more than $1 million in 1979, of which I got $15,000.
I made a Jo Jo Zep album, Cha, had a hit with Taxi Mary, and then I needed a break. In those days, there were no comebacks. I thought I was done.

I was working at the fruit market in Footscray, wondering what was next. Then I started working at a café, Café Neon, pouring coffees. My friend, Chris, who owned the place, said: “Why don’t you come and play on a Sunday afternoon?” I was “Joey Vincent”, while Chris was “Johnny Coal”. We shared the same taste in music and The Black Sorrows were born.
I was really into zydeco music, so I got a bunch of desperadoes together, including Steve McTaggart on violin, George Butrumlis on piano accordion, Paul Williamson on clarinet, Wayne Burt on guitar, Wayne Duncan on bass, and Gary Young on drums. We did a couple of gigs and said, “Hey, let’s make a record.”

I’d recommend that any band do things themselves. Making a record can be as expensive or as inexpensive as you want. You can make a record on a credit card, if you want.

I remember playing birthday parties and weddings, just so I could get enough money to make a record.

We made the first Black Sorrows album, Sonola, for $1300. I just wanted to have some sort of documentation that we existed. We did the artwork and screen-printed the covers. We’d put the covers on the line, one side only, waiting for them to dry, so we could do the other side.

They’re the things you cherish – waiting for the record to be pressed and then having a lounge-room full of records and freaking out because you want to get rid of them.

The biggest thing happened when Elvis Costello was in town. He visited Gaslight Records in the city and came across a copy of Sonola. Then, instead of talking about his latest record in his radio and TV appearances, he was talking up The Black Sorrows. And he started doing our version of Young Boy Blues live. Suddenly, The Black Sorrows had become a more serious band.

Happy accidents happen. I met Nick Smith in the toilets at Armstrongs Studios. We decided to write some songs together and our breakthrough was Country Girls, which ended up on our album A Place In The World.
When we made Dear Children, the covers were too expensive to give away because they were hand-printed with four colours and thick cardboard. I went to my local newsagent and bought some pink paper, on which I wrote: “The Black Sorrows, Dear Children”. I wrapped this around plain white covers like a bandage and sent them off to radio stations.

Hearing your record on the radio is phenomenal. It’s about the most exciting thing you could have happen to you. It’s just so exciting that they decide to play that particular record.

I mortgaged the house to make Dear Children and then CBS (Sony) stepped in and said: “We like this record, we’ll buy it off you.”
The album reached the Top 20, and we made Hold On To Me. Sony thought I’d do Dear Children again. Then when we made Harley & Rose, they couldn’t see it becoming popular. They wanted Hold On To Me again – even though they didn’t get it the first time around! There’s always a struggle between trying to move forward and trying to take people with you.

In November 1990 Daryl released his follow up album ‘Rise’, Daryl again proved that he had what it takes to make an album work and both the critics and public agreed. Rise boasted a further 5 hit singles. The most popular was undoubtedly “The Horses’, holding the #1 position on the national charts over 3 consecutive weeks. The unexpected success of this single led to being voted “Australian Song of the year’ at the 1991 Australian Music Awards.

Live the formative and flowing years of Australian Music with Daryl Braithwaite who is known for teen hysteria, international breakouts, multi platinum albums, extraordinary collaborations, performing at the sweatiest dives and some of the worlds most famous stadiums.
Daryl Braithwaite remains an integral part of the evolution and development of Australian popular music and a must see live on stage.

On the 9th and 10th March 2007, Russell Morris and Brian Cadd, together with musicians Peter Robinson and Kevin Murphy, joined the Queensland Conservatorium Orchestra for two nights of concerts.

Both artists felt that this was surely going to be a high point in their nearly forty-year friendship and musical association… and they weren’t wrong!

With these fully acoustic orchestral concerts, Brian and Russell have begun a whole new chapter in performing together. This recording is the result of those two magic nights.

The challenge of picking material sympathetic to the paring of a classical orchestra with modern rock themes was met chiefly because the two of them could choose from such a huge body of work; both having been writers and performers for 4 decades separately and now, finally, together.

Brian Cadd

www.briancadd.com
Brian Cadd began his career in 1966 when he joined the legendary Melbourne band The Groop, writing their two biggest hits ‘Woman You’re Breaking Me’ and ‘Such A Lovely Way’.

In 1969 he formed Australia’s first supergroup, AXIOM with Glenn Shorrock, once again penning their hits ‘Arkansas Grass’, ‘Little Ray of Sunshine’ and ‘My Baby’s Gone’.

He turned solo in 1972. His first hit was the timeless ‘Ginger Man’, followed by ‘Let Go’, ‘Alvin Purple’, ‘Show Me The Way’ and ‘Don’t You Know it’s Magic’ as well as ‘Class of ‘74’ and the music for the ultimate surfing movie, ‘Morning of the Earth’.

His songs have been recorded by artists such as Joe Cocker, Ringo Starr, The Pointer Sisters, Bonnie Tyler, Charlie Daniels, John Farnham, The Masters Apprentices and countless more.

Russell Morris

www.russellmorris.com.au
Russell Morris’s career began in Melbourne during the early ‘60s as lead singer of the chart-topping pop group ‘Somebodies Image’.

After a string of hits, they disbanded and Russell began a long and successful solo career. Starting with the mega classic “Real Thing”, his recordings have spanned more than three decades and include hits like ‘Hush’, ‘Part Three into Paper Walls’, ‘The Girl That I Love’, ‘Rachel’, ‘Wings of an Eagle’, ‘Sweet Sweet Love’, ‘Mr America’ and many more.

Russell has lived and worked extensively in the UK and the U.S. as well as keeping a continual touring schedule around Australia.

He has appeared in the arena musical “Jesus Christ Superstar” as well as having a number of his hits included in movies like ‘The Dish’ and ‘The December Boys’.

We have had over 25 years experience in the entertainment industry specialising in National and International touring acts including, Midnight Oil, Jimmy Barnes, Vanessa Amorosi, The Tea Party, L7, and 10cc to name a few.

International Touring Artists Services has currently on its books several of Australia’s premier artists including James Reyne, Russell Morris, Taxiride and Ross Wilson.

We are also the Exclusive Management and Booking agency for high profile acts Mental As Anything, Peter Cupples and Stylus.