(1:02) The Bee Gees were only active in Australia from about 1961(pre-recording contract for Festival) to late 1966. Their first single, on Leedon("Ballad Of The Blue And The Grey"/"Three Kisses Of Love) LK-346 issued 22nd March, 1963, their last Leedon single in March, 1966("Cherry Red"/"I want Home" LK-1282) was followed by their first for Spin("Monday's Rain"/"All Of My Life" EK-1384) issued 30th June, 1966. Of all their Leedon issues(10 singles and 2 EPs) and Spin issues(3 singles and 1 EP), only "Spicks & Specks"/"I Am The World" (EK-1474) issued September, 1966 was really successful. The follow-up, "Born A Man"/"Big Chance"(EK-1634) issued in January, 1967 after being recorded late in 1966, is a forgotten relic. That's where the Bee Gees' Australian career ended. The next single on Spin, "New York Mining Disaster 1941"/"I Can't See Nobody"(EK-1798) issued May, 1967 and subsequent releases up to 1974 were sourced from the British arm of Polydor, "Jive Talkin'"/"Wind Of Change" was issued as Interfusion K-5980 in June, 1975, then three more Interfusion issues ended with "You Should Be Dancin'"/"Subway"(K-6506) in August, 1976 thus ending Festival's hold on the group that should, by rights have ended with "Born A Man" in 1966. "New York Mining Disaster" should've been issued here on International Polydor, and "Jive Talkin'" on RSO(Robert Stigwood's new label) in 1975.
17:59 Slim Dusty's "A Pub With No Beer" emerged as the B-side of the Regal/Zonophone 78rpm shellac issue, G-25498 issued in September, 1957 by EMI, still trading as *Columbia Graphophone(Australia) Ltd.* The A-side was "Saddle Boy". But by July, 1958, EMI, again still trading as *Columbia Graphophone(Australia) Ltd.* reissued the record, this time on 45rpm vinyl as Columbia 45DO-3954 with "Pub With No Beer" as the A-side and "Saddle Boy" relegated to the B-side.
18:26 Though his songs had an Australian flavour and he came from the Perth suburb of Bassendean, Rolf Harris *CANNOT* be considered as an Australian act, as his entire catalogue of recordings were made in Britain for EMI(The Gramophone Co.) Hayes Middlesex England.
1:07 ......And Olivia Newton-John has *ABSOLUTELY NO CLAIM WHATSOEVER* to be an Australian. She was born in England and returned there in her late teens in 1965. She attended primary and high school in Melbourne, made a handful of TV appearances and her connection with Newcastle was tennuous at best(her father was connected with Newcastle University for a few short years). Olivia Newton-John *NEVER EVER* recorded in Australia. She never even so much as set foot inside an Australian recording studio, even to visit. Her recording career was based first in Britain, then America, starting with the *PYE International* label before moving to EMI in 1974, then in 1980 moving to MCA Records in America.
(1:02) The Bee Gees were only active in Australia from about 1961(pre-recording contract for Festival) to late 1966. Their first single, on Leedon("Ballad Of The Blue And The Grey"/"Three Kisses Of Love) LK-346 issued 22nd March, 1963, their last Leedon single in March, 1966("Cherry Red"/"I want Home" LK-1282) was followed by their first for Spin("Monday's Rain"/"All Of My Life" EK-1384) issued 30th June, 1966. Of all their Leedon issues(10 singles and 2 EPs) and Spin issues(3 singles and 1 EP), only "Spicks & Specks"/"I Am The World" (EK-1474) issued September, 1966 was really successful. The follow-up, "Born A Man"/"Big Chance"(EK-1634) issued in January, 1967 after being recorded late in 1966, is a forgotten relic. That's where the Bee Gees' Australian career ended. The next single on Spin, "New York Mining Disaster 1941"/"I Can't See Nobody"(EK-1798) issued May, 1967 and subsequent releases up to 1974 were sourced from the British arm of Polydor, "Jive Talkin'"/"Wind Of Change" was issued as Interfusion K-5980 in June, 1975, then three more Interfusion issues ended with "You Should Be Dancin'"/"Subway"(K-6506) in August, 1976 thus ending Festival's hold on the group that should, by rights have ended with "Born A Man" in 1966. "New York Mining Disaster" should've been issued here on International Polydor, and "Jive Talkin'" on RSO(Robert Stigwood's new label) in 1975.
17:59 Slim Dusty's "A Pub With No Beer" emerged as the B-side of the Regal/Zonophone 78rpm shellac issue, G-25498 issued in September, 1957 by EMI, still trading as *Columbia Graphophone(Australia) Ltd.* The A-side was "Saddle Boy". But by July, 1958, EMI, again still trading as *Columbia Graphophone(Australia) Ltd.* reissued the record, this time on 45rpm vinyl as Columbia 45DO-3954 with "Pub With No Beer" as the A-side and "Saddle Boy" relegated to the B-side.
18:26 Though his songs had an Australian flavour and he came from the Perth suburb of Bassendean, Rolf Harris *CANNOT* be considered as an Australian act, as his entire catalogue of recordings were made in Britain for EMI(The Gramophone Co.) Hayes Middlesex England.
1:07 ......And Olivia Newton-John has *ABSOLUTELY NO CLAIM WHATSOEVER* to be an Australian. She was born in England and returned there in her late teens in 1965. She attended primary and high school in Melbourne, made a handful of TV appearances and her connection with Newcastle was tennuous at best(her father was connected with Newcastle University for a few short years). Olivia Newton-John *NEVER EVER* recorded in Australia. She never even so much as set foot inside an Australian recording studio, even to visit. Her recording career was based first in Britain, then America, starting with the *PYE International* label before moving to EMI in 1974, then in 1980 moving to MCA Records in America.