Music of Australia

Last updated

The music of Australia has an extensive history made of music societies. Indigenous Australian music is a part of the unique heritage of a 40,000 to 60,000 year history which produced the iconic didgeridoo. Contemporary fusions of indigenous and Western styles (exemplified in the works of No Fixed Address, Yothu Yindi, Christine Anu and Geoffrey Gurrumul Yunupingu) mark distinctly Australian contributions to world music. During its early western history, Australia was a collection of British colonies, and Australian folk music and bush ballads such as "Waltzing Matilda" were heavily influenced by Anglo-Celtic traditions, while classical forms were derived from those of Europe. Contemporary Australian music ranges across a broad spectrum with trends often concurrent with those of the US, the UK, and similar nations – notably in the Australian rock and Australian country music genres. Tastes have diversified along with post-World War II multicultural immigration to Australia.

Didgeridoo wind instrument

The didgeridoo is a wind instrument. The didgeridoo was developed by Indigenous Australians of northern Australia, likely within the last 1,500 years and is now in use around the world. It is a wooden trumpet "drone pipe" classified by Musicologists as a brass aerophone.

No Fixed Address is an Australian Aboriginal reggae rock group formed in 1979. The band was led by Bart Willoughby Pitjanjatjara from Koonibba Mission near Ceduna in the far south west of South Australia, together with Ricky Harrison Kurnai from Morwell in Victoria, Leslie Lovegrove Freeman, Ngarrindjeri from Murray Bridge in South Australia, John Miller (bass) from Port Lincoln in South Australia and Veronica Rankine, Ngarrindjeri from the south east of South Australia. Many members were related through family ties, Willoughby, Miller and Freeman were cousins. Freeman, related to Harrison through marriage, recruited him from Victoria and they all met and formed the band at the Centre for Aboriginal Studies in Music (CASM) in North Adelaide, South Australia.

Yothu Yindi Australian musical group

Yothu Yindi were an Australian musical group with Aboriginal and balanda (non-Aboriginal) members, formed in 1986 as a merger of two bands formed in 1985 – a White rock group called the Swamp Jockeys and an unnamed Aboriginal folk group. The Aboriginal members came from Yolngu homelands near Yirrkala on the Gove Peninsula in Northern Territory's Arnhem Land. Founding members included Stuart Kellaway on bass guitar, Cal Williams on lead guitar, Andrew Belletty (Drums), Witiyana Marika on manikay, bilma and dance, Milkayngu Mununggurr on yidaki (didgeridoo), Geoffrey Gurrumul Yunupingu on keyboards, guitar and percussion, and leader Mandawuy Yunupingu on vocals and guitar.

Contents

Indigenous music

President George W. Bush enjoys a performance of Aboriginal song and dance during a 2007 visit to the Australian National Maritime Museum in Sydney with traditional instrument, the didgeridoo. Aboriginal song and dance.jpg
President George W. Bush enjoys a performance of Aboriginal song and dance during a 2007 visit to the Australian National Maritime Museum in Sydney with traditional instrument, the didgeridoo.

Indigenous Australian music refers to the music of Aborigines and Torres Strait Islanders. Music forms an integral part of the social, cultural and ceremonial observances of these peoples, and has been so for over 60,000 years. [1] Traditional indigenous music is best characterised by the didgeridoo, the best-known instrument, which is considered by some to be the world's oldest. [2] Archaeological studies of rock art in the Northern Territory suggest people of the Kakadu region were playing the instrument 15,000 years ago. [3]

Indigenous Australians are the Aboriginal and Torres Strait Islander peoples of Australia, descended from groups that existed in Australia and surrounding islands before British colonisation. The time of arrival of the first Indigenous peoples on the continent and nearby islands is a matter of debate among researchers. The earliest conclusively human remains found in Australia are those of Mungo Man LM3 and Mungo Lady, which have been dated to around 50,000 years BP. Recent archaeological evidence from the analysis of charcoal and artefacts revealing human use suggests a date as early as 65,000 BP. Luminescence dating has suggested habitation in Arnhem Land as far back as 60,000 years BP. Evidence of fires in South-West Australia suggest 'human presence in Australia 120,000 years ago', although more research is required. Genetic research has inferred a date of habitation as early as 80,000 years BP. Other estimates have ranged up to 100,000 years and 125,000 years BP.

Torres Strait Islanders Ethnic group

Torres Strait Islanders ( ) are the indigenous people of the Torres Strait Islands, part of Queensland, Australia. They are distinct from the Aboriginal people of the rest of Australia, and are generally referred to separately. There are also two Torres Strait Islander communities on the nearby coast of the mainland at Bamaga and Seisia.

Society Social group involved in persistent social interaction

A society is a group of individuals involved in persistent social interaction, or a large social group sharing the same geographical or social territory, typically subject to the same political authority and dominant cultural expectations. Societies are characterized by patterns of relationships between individuals who share a distinctive culture and institutions; a given society may be described as the sum total of such relationships among its constituent of members. In the social sciences, a larger society often exhibits stratification or dominance patterns in subgroups.

Contemporary indigenous Australian music has covered numerous styles, including rock and roll, country, [4] hip hop, and reggae. Jimmy Little is regarded as the first Aboriginal performer to achieve mainstream success, with his debut 1964 song "The Royal Telephone" highly popular and successful. [5] In 2005, Little was presented with an honorary doctorate in music by the University of Sydney. [6] Despite the popularity of some of his work, Little failed to launch indigenous music in the country—from the 1970s onwards, groups such as Coloured Stone, Warumpi Band, and No Fixed Address would help improve the image of the genre. [5] It would be Yothu Yindi that would bring indigenous music to the mainstream, with their 1991 song "Treaty", from the album Tribal Voice , becoming a hit. [7] would go on to reach No. 11 on the ARIA Singles Chart. [8] The band's performances were based on the traditional Yolngu dance, and embodied a sharing of culture. [5] The success of Yothu Yindi—winners of eight ARIA Awards [9] —was followed in by Kev Carmody, Tiddas, Christine Anu, and numerous other indigenous Australian musicians. [5]

Australian country music Genre of popular music from Australia

Australian country music is a part of the music of Australia. There is a broad range of styles, from bluegrass, to yodeling to folk to the more popular. The genre has been influenced by Celtic and English folk music, the Australian bush ballad tradition, as well as by popular American country music. Themes include: outback life, the lives of stockmen, truckers and outlaws, songs of romance and of political protest; and songs about the "beauty and the terror" of the Australian bush. Early pioneers included Tex Morton, Smoky Dawson, Buddy Williams, Slim Dusty and Johnny Ashcroft all members of the Australian Roll of Renown.

Australian hip hop traces its origins to the early 1980s and is largely inspired by hip hop and other predominantly African-American musical genres from the United States. As the form matured, Australian hip hop has become a commercially viable style of music that is no longer restricted to the creative underground, with artists such as 1200 Techniques, Kerser, Manu Crooks, Briggs, Baker Boy, Koolism, Hilltop Hoods and Bliss n Eso achieving notable fame. Australian hip-hop is still primarily released through independent record labels, which are often owned and operated by the artists themselves. Despite its genesis as an offshoot of American hip hop, Australian hip hop has developed a distinct personality that reflects its evolution as an Australian musical style.

Reggae Music genre from Jamaica

Reggae is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, "Do the Reggay" was the first popular song to use the word "reggae", effectively naming the genre and introducing it to a global audience. While sometimes used in a broad sense to refer to most types of popular Jamaican dance music, the term reggae more properly denotes a particular music style that was strongly influenced by traditional mento as well as American jazz and rhythm and blues, especially the New Orleans R&B practiced by Fats Domino and Allen Toussaint, and evolved out of the earlier genres ska and rocksteady. Reggae usually relates news, social gossip, and political comment. Reggae spread into a commercialized jazz field, being known first as "Rudie Blues", then "Ska", later "Blue Beat", and "Rock Steady". It is instantly recognizable from the counterpoint between the bass and drum downbeat, and the offbeat rhythm section. The immediate origins of reggae were in ska and rocksteady; from the latter, reggae took over the use of the bass as a percussion instrument.

Horace Watson recording the songs of Fanny Cochrane Smith, considered to be the last fluent speaker of a Tasmanian language, 1903. Folk-singer Bruce Watson, descendant of Watson, composed a song about this picture and later performed it with singer Ronnie Summers, a descendant of Smith. Fanny Cochrane Smith recording.jpg
Horace Watson recording the songs of Fanny Cochrane Smith, considered to be the last fluent speaker of a Tasmanian language, 1903. Folk-singer Bruce Watson, descendant of Watson, composed a song about this picture and later performed it with singer Ronnie Summers, a descendant of Smith.

Indigenous Australian music is unique, as it dates back more than 60,000 years to the prehistory of Australia and continues the ancient songlines through contemporary artists as diverse as: David Dahwurr Hudson, Jimmy Little, Warumpi Band, Yothu Yindi, Tiddas, Wild Water, Christine Anu, Geoffrey Gurrumul Yunupingu, Saltwater Band, Nabarlek, Nokturnl, the Pigram Brothers, Coloured Stone, Blekbala Mujik, Kev Carmody, Archie Roach and Ruby Hunter.

The prehistory of Australia is the period between the first human habitation of the Australian continent and the colonization of Australia in 1788, which marks the start of consistent documentation of Australia. This period is estimated to have lasted between 40,000 and 60,000 years, or longer.

David Charles Hudson is an Australian Aboriginal musician, entertainer and artist. Hudson is a multi-instrumentalist and was taught to play traditional didgeridoo from an early age. He also plays guitar, kit drums, percussion. He plays traditional music, as well as more ambient music, country-folk, rock, and new age.

Jimmy Little Australian musician

James Oswald Little, AO was an Australian Aboriginal musician, actor and teacher from the Yorta Yorta people and was raised on the Cummeragunja Mission, New South Wales.

Folk music

Cover to Banjo Paterson's seminal 1905 collection of bush ballads, entitled The Old Bush Songs The Old Bush Songs by Banio Paterson.jpg
Cover to Banjo Paterson's seminal 1905 collection of bush ballads, entitled The Old Bush Songs

For much of its history, Australia's bush music belonged to an oral and folkloric tradition, and was only later published in print in volumes such as Banjo Paterson's Old Bush Songs, in the 1890s. The distinctive themes and origins of Australia's "bush music" or "bush band music" can be traced to the songs sung by the convicts who were sent to Australia during the early period of the British colonisation, beginning in 1788. Early Australian ballads sing of the harsh ways of life of the epoch and of such people and events as bushrangers, swagmen, drovers, stockmen and shearers. Convict and bushranger verses often railed against government tyranny. Classic bush songs on such themes include: "The Wild Colonial Boy", "Click Go the Shears", "The Drover's Dream", "The Queensland Drover", "The Dying Stockman" and "Moreton Bay". [10]

Banjo Paterson Australian journalist, author and poet

Andrew Barton "Banjo" Paterson, was an Australian bush poet, journalist and author. He wrote many ballads and poems about Australian life, focusing particularly on the rural and outback areas, including the district around Binalong, New South Wales, where he spent much of his childhood. Paterson's more notable poems include "Clancy of the Overflow" (1889), "The Man from Snowy River" (1890) and "Waltzing Matilda" (1895), regarded widely as Australia's unofficial national anthem.

Bush band category of band

A bush band is a group of musicians that play Australian bush ballads. A similar bush band tradition is also found in New Zealand.

Bushranger runaway convict during the British settlement of Australia

Bushrangers were originally escaped convicts in the early years of the British settlement of Australia who used the Australian bush as a refuge to hide from the authorities. By the 1820s, the term "bushranger" had evolved to refer to those who took up "robbery under arms" as a way of life, using the bush as their base.

Later themes which endure to the present include the experiences of war, of droughts and flooding rains, of Aboriginality and of the railways and trucking routes which link Australia's vast distances. Isolation and loneliness of life in the Australian bush have been another theme. "Waltzing Matilda", often regarded as Australia's unofficial national anthem, is a quintessential Australian folk song, influenced by Celtic folk ballads. Country and folk artists such as Tex Morton, Slim Dusty, Rolf Harris, The Bushwackers, John Williamson, and John Schumann of the band Redgum have continued to record and popularise the old bush ballads of Australia through the 20th and into the 21st century – and contemporary artists including Sara Storer and Lee Kernaghan draw heavily on this heritage.

Waltzing Matilda Australian bush ballad

"Waltzing Matilda" is Australia's best-known bush ballad, and has been described as the country's "unofficial national anthem".

National anthem Song that represents a country or sovereign state

Ddddfffffgygh

Tex Morton New Zealand country music singer

Tex Morton was a pioneer of New Zealand and Australian country and western music, vaudevillian, actor, television host and circus performer

Australia has a unique tradition of folk music, with origins in both the indigenous music traditions of the original Australian inhabitants, as well as the introduced folk music (including sea shanties) of 18th and 19th century Europe. Celtic, English, German and Scandinavian folk traditions predominated in this first wave of European immigrant music. The Australian tradition is, in this sense, related to the traditions of other countries with similar ethnic, historical and political origins, such as New Zealand, Canada, and the United States. The Australian indigenous tradition brought to this mix of novel elements, including new instruments, some of which are now internationally familiar, such as the didgeridoo of Northern Australia. A number of British singers have spent periods in Australia and have included Australian material in their repertoires, e.g. A. L. Lloyd, Martin Wyndham-Read and Eric Bogle.

Folk revival

Eric Bogle FIL 2016 - Eric Bogle 3149.jpg
Eric Bogle

Notable Australian exponents of the folk revival movement included both European immigrants such as Eric Bogle, noted for his sad lament to the battle of Gallipoli "And the Band Played Waltzing Matilda", and indigenous Australians like Archie Roach and Paul Kelly. Kelly's lyrics capture the vastness of the culture and landscape of Australia by chronicling life about him for over 30 years. David Fricke from Rolling Stone calls Kelly "one of the finest songwriters I have ever heard, Australian or otherwise." In the 1970s, Australian Folk Rock brought both familiar and less familiar traditional songs, as well as new compositions, to live venues and the airwaves. Notable artists include The Bushwacker Band and Redgum. Redgum are known for their 1983 anti-war protest song "I Was Only Nineteen", which peaked at No. 1 on the National singles charts. The 1990s brought Australian indigenous folk rock to the world, led by bands including Yothu Yindi. Australia's long and continuous folk tradition continues strongly to this day, with elements of folk music still present in many contemporary artists including those generally thought of as Rock, Heavy Metal and Alternative Music.

Early pop music

Joe Slater Screenshot from 2018-12-13 21-04-19.png
Joe Slater

Australian composers who published popular musical works (e.g. Ragtime, light ephemera) in the early twentieth century include Vince Courtney, Herbert De Pinna, Jack Lumsdaine, Joe Slater, Reginald Stoneham and Herbert Cosgrove, among others. Demand for local works declined with recording and broadcast.

Country music

Country singer Melinda Schneider with folk-rocker Paul Kelly Melinda Schneider Paul Kelly 2008.jpg
Country singer Melinda Schneider with folk-rocker Paul Kelly
Kasey Chambers Kasey Chambers.jpg
Kasey Chambers

Australia has a long tradition of country music, which has developed a style quite distinct from its US counterpart. The early roots of Australian country are related to traditional folk music traditions of Ireland, England, Scotland and many diverse nations. "Botany Bay" from the late 19th century is one example. "Waltzing Matilda", often regarded by foreigners as Australia's unofficial national anthem, is a quintessential Australian country song, influenced more by Celtic folk ballads than by American Country and Western music. This strain of Australian country music, with lyrics focusing on strictly Australian subjects, is generally known as "bush music" or "bush band music." The most successful Australian bush band is Melbourne's The Bushwackers, active since the early 1970s, other well-known country singers include Reg Lindsay, bush balladeer singer Buddy Williams, and entertainers Johnny Ashcroft and Chad Morgan.

Another, more Americanized form of Australian country music was pioneered in the 1930s by such recording artists as Tex Morton, and later popularized by Slim Dusty, best remembered for his 1957 song "A Pub With No Beer", and Smoky Dawson. Dusty married singer-songwriter Joy McKean in 1951 and went on to become Australia's biggest selling domestic music artist with more than 7 million record sales. [11] British-born country singer and yodeller, Frank Ifield, was one of the first Australian post-war performers to gain widespread international recognition. After returning to the UK in 1959 Ifield was successful in the early 1960s, becoming the first performer to have three consecutive number-one hits on the UK charts: "I Remember You", "Lovesick Blues" (both 1962) and "The Wayward Wind" (1963). [12] "I Remember You" was also a Top 5 hit in the US. [13]

Australian country artists including Olivia Newton-John, Sherrie Austin, and Keith Urban have achieved considerable success in the USA. In recent years local contemporary country music, featuring much crossover with popular music, had popularity in Australia; notable musicians of this genre include David Hudson, John Williamson, Gina Jeffreys, Lee Kernaghan, Troy Cassar-Daley, Sara Storer, Felicity Urquhart and Kasey Chambers. Others influenced by the genre include Nick Cave, Paul Kelly, The John Butler Trio, Jagged Stone and The Waifs. Popular Australian country songs include Click Go the Shears (Traditional), Lights on the Hill (1973), I Honestly Love You (1974), True Blue (1981), and Not Pretty Enough (2002).

Children's music

The Wiggles' lineup in 2007, riding in the Big Red Car during a concert Wiggles 2007 Lineup.jpg
The Wiggles' lineup in 2007, riding in the Big Red Car during a concert

Children's music in Australia developed gradually over the latter half of the 20th century. The most recognised performers in that period were those associated with the long-running Australian Broadcasting Corporation series Play School , including veteran actor-musician Don Spencer and actor and singer Noni Hazlehurst. Children's music remained a relatively small segment of the Australian music industry until the emergence of groundbreaking children's group The Wiggles in the late 1990s. The multi-award-winning four-piece group rapidly gained international popularity in the early 2000s and by the end of the decade they had become one of the most popular children's groups in the world. The Wiggles now boasts a huge fanbase in many regions including Australasia, Britain, Asia, and the Americas.

In 2008 The Wiggles were named Business Review Weekly's top-earning Australian entertainers for the fourth year in a row having earned A$45 million in 2007. [14] They have been called "the world's biggest preschool band" and "your child's first rock band". [15] The group has achieved worldwide success with their children's albums, videos, television series, and concert appearances. They have earned seventeen gold, twelve platinum, three double-platinum, and ten multi-platinum awards for sales of over 17 million DVDs and four million CDs. [16]

By 2002, The Wiggles had become the Australian Broadcasting Corporation's (ABC) most successful pre-school television program. They have performed for over 1.5 million children in the US between 2005 and 2008. [17] They have won APRA song writing awards for Best Children's Song three times and earned ADSDA's award for Highest Selling Children's Album four times. [16] They have been nominated for ARIA's Best Children's Album award nineteen times, and won the award twelve times. [18] In 2003, they received ARIA's Outstanding Achievement Award for their success in the U.S. [16]

R&B and soul music

Guy Sebastian and Jimmy Barnes 6 March 2008 State Theatre Guy Sebastian and Jimmy Barnes Memphis Tour 7 Mar 2008.jpg
Guy Sebastian and Jimmy Barnes 6 March 2008 State Theatre

R&B soul music had a significant impact on Australian's music, although it is notable that many seminal recordings in this genre by American acts of the late 20th century were not played on Australian radio. Anecdotal evidence suggest that racism was a key factor—in his book on the history of Australian radio, author and broadcaster Wayne Mac recounts that when a local Melbourne DJ of the 1960s played the new Ike and Tina Turner single "River Deep Mountain High" it was immediately pulled from the playlist by the station's program manager for being "too noisy and too black". [19] As a result, many local soul/R&B hits of this period were cover versions recorded by Australian acts. Despite radio's relucatance to play American soul/R&B originals, these styles were avidly adopted by local performers and covers of soul/R&B standards were staples in the setlists of many acts including Max Merritt and the Meteors, Doug Parkinson, Jeff St John, The Groop, The Groove, The Twilights, Renee Geyer and many others.

Renée Geyer is an Australian singer who came to prominence in the mid-1970s, has long been regarded as one of the finest exponents of jazz, soul and R&B idioms. [20] [21] She had commercial success as a solo artist in Australia, with "It's a Man's Man's World "Rock historian, Ian McFarlane described her as having a "rich, soulful, passionate and husky vocal delivery". [20] Geyer's iconic status in the Australian music industry was recognised when she was inducted into the ARIA Hall of Fame on 14 July 2005.

Parallel with Geyer's success, American born vocalist Marcia Hines emerged as one of Australia's most successful solo singers. She first came to prominence in the early 1970s with critically acclaimed roles in the local stage productions of Hair and Jesus Christ Superstar (in which she was the first African-American to play the role of Mary Magdalene) before launching a solo career. By the late 1970s she was one of Australia's top singing stars, winning several Queen of Pop awards and hosting her own national TV variety series.

Following their initial dissolution in 1982 Cold Chisel lead vocalist Jimmy Barnes embarked on a successful solo career that has continued from the 1980s to the present. Many of Barnes' albums have featured versions of songs from these genres and his chart-topping album Soul Deep (1991) consisted entirely of covers of classic 1960s soul/R&B covers. Australian soul singer/songwriters like Daniel Merriweather, has after several successful collaborations with artists such as Mark Ronson, released his official debut album, Love & War, in June 2009. It entered the UK Albums Chart at number two. After launching his career as the winner of an early series of Australian Idol , soul singer/songwriter Guy Sebastian has also made an impact on this genre in Australia winning awards at the Urban Music Awards Australia and New Zealand for Best Male Artist and Best R&B Album. Sebastian's recent release "Like it Like That", was the highest selling Australian artist single in 2009 and charted at No. 1 for two consecutive weeks [22] [23]

In 2004, Australian Idol finalist Paulini's debut single "Angel Eyes" and album One Determined Heart both reached number one on the ARIA charts and were certified platinum. [24] Paulini earned ARIA No. 1 Chart Awards for both the single and album. [25] Her second album Superwoman included the singles "Rough Day" and "So Over You", and earned Paulini two nominations at the 2007 Urban Music Awards for 'Best R&B Album' and 'Best Female Artist'. [26]

2006 Australian Idol runner-up Jessica Mauboy made her musical solo debut in 2008 with the single "Running Back", which featured American rapper Flo Rida, and peaked at number three on the ARIA Singles Chart, eventually being certified double platinum. [27] Her debut album Been Waiting earned her seven nominations at the 2009 ARIA Music Awards, winning the award of 'Highest Selling Single' for "Running Back". [28] Mauboy has continued to enjoy success with singles such as "Burn", "Saturday Night" featuring Ludacris and "Inescapable". R&B and pop singer Cody Simpson has achieved international acclaim and has been compared to the likes of Justin Bieber and Miley Cyrus.[ citation needed ] Simpson's music has charted all over the world.[ citation needed ]

Soul singer Gabriella Cilmi possessing a voice and singing style similar to Amy Winehouse has managed to achieve a degree of international success since 2007 with singles like "Sweet About Me". Other singers in the R&B/soul genre include Jade MacRae, Israel Cruz, Stan Walker and Ricki-Lee Coulter, who experimented with R&B for her first two albums, Ricki-Lee (2005) and Brand New Day (2007). Lowrider (Australian band) is one of Australia's few indie pop soul bands, forming in 2003. Lowrider released their self-titled debut album Lowrider (Illusive Sounds) in 2006 and Diamond Amongst the Thieves (Illusive Sounds) in 2008. In July 2010 Lowrider released Round the World and was nominated for an Australian Music Industry ARIA Music Awards for Best Urban Album. One of the more recent additions to contribute to the R&B and soul sound is Melbourne based Cam Noble who has played a major part in production for the now more modernised genre.

Reggae

Reggae had success on the radio charts in Australia in the early 1980s when Toots and the Maytals, the first artist to use the term "reggae" in song, went to number one with their song "Beautiful Woman". [29] [30] Early reggae groups from Australia included JJ Roberts, No Fixed Address, The Igniters, Larry Maluma and Untabu featuring Ron Jemmott. [31]

Rock and pop

Australia has produced a wide variety of rock and popular music, from the internationally successful groups AC/DC, INXS, Nick Cave, Savage Garden, the Seekers, or pop divas Delta Goodrem, Kylie Minogue to the popular local content of John Farnham, Jimmy Barnes or Paul Kelly. Indigenous Australian music and Australian jazz have also had crossover influence on this genre. [32] Early Australian rock and roll stars included Col Joye and Johnny O'Keefe. O'Keefe formed a band in 1956; his hit Wild One made him the first Australian rock'n'roller to reach the national charts. [33] While US and British content dominated airwaves and record sales into the 1960s, local successes began to emerge – notably The Easybeats and the folk-pop group The Seekers had significant local success and some international recognition, while AC/DC had their first hits in Australia before going on to international success.

Pub rock was popular in the 1980s, and the era was typified by AC/DC, Divinyls, Mental As Anything, Midnight Oil, The Choirboys, The Angels, Noiseworks, Air Supply, Cold Chisel and Icehouse. INXS and Men at Work also achieved fame worldwide, and the song "Down Under" became an unofficial anthem for Australia. Australian hip hop began in the early 1980s, primarily influenced by overseas works, but by the 1990s a distinctive local style had emerged, with groups such as the Hilltop Hoods achieving international acclaim for their work. The 1990s saw an increase in the popularity of indie rock in Australia. AC/DC and INXS continued to achieve commercial success in the United States, whilst a multitude of local bands, including Jebediah, Magic Dirt, Diana Anaid (#1 on the Australian Indie Charts and #26 on the USA Billboard Chart), Spiderbait, The Superjesus, Regurgitator, You Am I, Icecream Hands, Powderfinger, Silverchair and Something for Kate, were popular throughout the country. A small electronic music scene emerged around Sydney and Melbourne, with Severed Heads, and Ollie Olsen's No peaking in the 1990s.

Australian music experienced a rock renaissance in the 2000s with groups such as The Vines, Jet, Airbourne and Wolfmother charting internationally. Hilltop Hoods were the first Australian hip-hop group to reach the top of the ARIA chart. Channel 10's Australian Idol program was highly popular locally, as were the many "idols" produced.

First wave of Australian rock

The Delltones with four radio awards DelltonesAwards.jpg
The Delltones with four radio awards

In the mid-1950s, American rock and roll spread across the world. Sydney's independent record label Festival Records was the first to get on the bandwagon in Australia, releasing Bill Haley & His Comets' "Rock Around the Clock" in 1956. It became the biggest-selling Australian single ever released up to that time. American-born entrepreneur Lee Gordon, who arrived in Australia in 1953, played a key role in establishing the popularity of rock & roll with his famous "Big Show" tours, which brought to Australia many leading American rock'n'roll acts including Bill Haley & His Comets, Little Richard, Bo Diddley, Eddie Cochran, Gene Vincent, Buddy Holly & The Crickets and Jerry Lee Lewis. Gordon was also instrumental in launching the career of Johnny O'Keefe, the first Australian rock star, who rose to fame by imitating Americans like Elvis Presley and Little Richard. O'Keefe and other "first wave" bands were popular until about 1961, when a wave of clean-cut family bands took their place.

Though mainstream audiences in the early sixties preferred a clean-cut style – epitomised by the acts that appeared on the Nine Network pop show Bandstand – there were a number of 'grungier' guitar-oriented bands in major cities like Sydney and Melbourne, who were inspired by American and British instrumental and surf acts like Britain's The Shadows – who exerted an enormous influence on Australian and New Zealand music prior to the emergence of The Beatles – and American acts like guitar legend Dick Dale and The Surfaris. Notable Australian instrumental groups of this period included The Atlantics, The Denvermen, The Thunderbirds, The Planets, The Dee Jays, The Joy Boys, The Fabulous Blue Jays and The Whispers.

"Friday on My Mind", by The Easybeats The Easybeats - Friday on My Mind.jpg
"Friday on My Mind", by The Easybeats

Jazz was another important influence on the first wave of Australian rock. Unlike the musicians in bands such as The Comets, or Elvis Presley's backing band, who had rockabilly or country music backgrounds, many musicians in Australian rock'n'roll bands – such as Johnny O'Keefe's famous backing group The Dee Jays – had a solid background in jazz.

Second wave of Australian rock

The "second wave" of Australian rock is said to have begun in about 1964, and followed directly on the impact of The Beatles. In the immediate wake of The Beatles' momentous Australian tour, many local groups that had formerly played guitar-based instrumental music recruited singers and took up the new 'beat' style. Some of the best-known and most popular acts in this period were Billy Thorpe and the Aztecs and Ray Brown & The Whispers, The Easybeats, The Masters Apprentices, The Twilights, The Groop, The Groove, The Loved Ones and cult acts like The Throb and solo star Normie Rowe, who quickly became Australia's most popular male pop vocalist. During this period a wave of acts also came from New Zealand, including Ray Columbus & the Invaders, Max Merritt & The Meteors, Dinah Lee, Larry's Rebels and The La De Das.

Many Australian bands and singers tried to enhance their careers by moving overseas, in particular to England, then seen as the mecca of popular music but few bands were successful and of those who relocated to the UK only The Seekers enjoyed any lasting success. Others that made the journey were The Easybeats (the first rock band to crack the UK market), The Twilights, The Groove, Lloyds World and the La De Das.

Third wave of Australian rock

AC/DC performing at the Ulster Hall in August 1979 ACDC-Hughes-long ago.jpg
AC/DC performing at the Ulster Hall in August 1979

The "third wave" of Australian rock began around 1970, by which time most of the major local pop groups of the 1960s had dissolved and former solo stars like Normie Rowe had faded from view. Few acts from this era attained major international success, and it was even difficult to achieve success across Australia, due to low radio airplay and the increasing dominance of overseas performers on the charts. A pivotal event was the 1970 radio ban, which lasted from May to October that year. The Ban was the climax of a simmering "pay for play" dispute between major record companies and commercial radio stations, who refused to pay a proposed new copyright fee for playing pop records on air. The dispute erupted into open conflict in May 1970—many commercial stations boycotted records by the labels involved and refused to list their releases on their Top 40 charts, while the record companies in turn refused to supply radio with free promotional copies of new releases.

An unexpected side-effect of the ban was that several emerging Australian acts signed to independent labels (who were not part of the dispute) scored hits with covers of overseas hits; these included The Mixtures' cover of Mungo Jerry's "In the Summertime" [34] and Liv Maessen's cover of Mary Hopkin's Eurovision song "Knock, Knock Who's There?".

Despite commercial radio resistance to the more progressive music being produced by bands like Spectrum and Tully, acts as diverse as AC/DC, Sherbet and John Paul Young were able to achieve major success and develop a unique sound for Australian rock. From 1975, key agents for the increased exposure of local music were the nationally broadcast ABC-TV television pop show Countdown , which premiered in late 1974, and Australia's first non-commercial all-rock radio station Double Jay, which opened in January 1975. Hard rock bands AC/DC and Rose Tattoo and harmony rock group Little River Band also found major overseas success in the late 1970s and early 1980s, touring all over the world. Meanwhile, a score of Australian expatriate solo performers like Helen Reddy, Olivia Newton-John and Peter Allen became major stars in the US and internationally. Icehouse also formed in the late 1970s.

This period also saw bands like Skyhooks moving towards new wave music, and the late 1970s saw the emergence of pioneering punk rock bands like The Saints and Radio Birdman, as well as electronic musical groups, such as Cybotron, Severed Heads and Essendon Airport. Perhaps most influential of the 'underground' scenes, however, was the burgeoning Australian pub rock circuit, which developed in the early 1970s and played a key role in the emergence of major bands of the late 1970s and early 1980s, including Cold Chisel and The Angels, and in Sydney Midnight Oil and Matt Finish. From the post-punk music scene which had sprung up in Melbourne came The Boys Next Door featuring guitarist Rowland S. Howard and Nick Cave. The Boys Next Door would eventually become The Birthday Party.

The Australian Music Industry as a business began to formalise during the late 1960s and the 1970s. Although not taken seriously by the mainstream business community in those early years, none could discount the pioneering spirit and business acumen of the likes of Michael Gudinski, Michael Chugg, Ray Evans, Glenn Wheatley, Harry M. Miller, Harley Medcalf, Michael Browning, Peter Rix, Ron Tudor, Roger Davies, Fred Bestall, Lance Reynolds, Alan Hely, Frank Stivala, Sebastian Chase, Philip Jacobsen, Peter Karpin, Roger Savage, John Sayers, Ernie Rose, Bill Armstrong (Australian music producer), Kevin Jacobsen, Phil Dwyer, Ken Brodziak, Denis Handlin, Stan Rofe, Jade Johnson, Terry Blamey and Ian 'Molly' Meldrum. These were the people largely responsible for promoting and developing the Australian music 'business' during those formative years.

Clubs and venues catering for the demand of live band entertainment flourished in capital cities all over the country, however, the central development of the Australian Music Industry during these years was in Sydney and Melbourne. Clubs such as Chequers, the Bondi Lifesaver and the Coogee Bay Hotel in Sydney, and the Thumpin Tum, Catcher, Berties, Sebastian's, the Hard Rock Cafe and the Q Club in Melbourne were synonymous with the biggest names in Australian rock & roll. In 1970 the first ever outdoor music festival, modelled on Woodstock, was held at Ourimbah near Sydney, and several other followed over the next two years, but most were a financial failure. In 1972 the first festival that proved successful enough to be repeated was the 1972 'Festival' which attracted some 35,000 music fans from across the country to Sunbury, Melbourne.

'Pop' magazines such as Go-Set (which began in 1966), the Daily Planet , RAM, and Juke, and television programs such as Countdown , Uptight, Sounds Unlimited and Happening 70 promoted Australian popular music to a youth market who had never before experienced such media exposure of their idols and stars. 'Pop Stars' were now being created by direct marketing to a targeted teenage audience. Recording studios such as 301, Alberts' and Trafalgar in Sydney and Armstrong Studios and TCS in Melbourne became legendary. Independent label Mushroom Records was founded in 1973 and although it struggled to survive for its first two years of existence, it was saved in early 1975 by the nationawide commercial breakthrough of Skyhooks, whose debut LP became the biggest-selling Australian rock album ever released up to that time; this success enabled Mushroom to become a significant player in the Australian music industry and compete with established companies like EMI, CBS and Festival.

The bands and solo artists who shaped Australian Music during these seminal years were: – The Choirboys, INXS, Noiseworks, Skyhooks, AC/DC, Renée Geyer, Spectrum, Chain, Daddy Cool, Marcia Hines, Zoot, The Masters Apprentices, Dragon, Air Supply, The Radiators, The Angels, Axiom, Kevin Borich Express, Captain Matchbox Whoopee Band, Carson, Cheetah, Richard Clapton, Cold Chisel, John Farnham, Healing Force, Lobby Loyde and the Coloured Balls, Hawking Bros, Flake, Buffalo, Bjerre, Wendy Saddington, The Seekers, Ronnie Charles, Company Caine, Trevor Spry, Radio Birdman, Buster Brown, Little River Band, Ray Burgess, Mental As Anything, Marty Rhone, Ariel, The La De Das, Peter Allen, The Dingoes, Babeez, Mondo Rock, Icehouse, Midnight Oil, Doug Parkinson, Jon English, Blackfeather, Ronnie Burns, The Ferrets, Mike Brady, Martin Gellatley, Hush, Tully, Madder Lake, Supernaut, Russell Morris, Allison Durbin, Olivia Newton-John, Ross D. Wyllie, The News, Max Merritt and the Meteors, Debra Byrne, Rose Tattoo, The Reels, The Saints, Sebastian Hardie, Lash, William Shakespeare, Samantha Sang, Sherbet, Silver Studs, John St Peters, Jeff St John, Stylus, Jim Keays, Tamam Shud, Ted Mulry Gang, Billy Thorpe and the Aztecs, Ol' 55, Mark Holden, Lyndon Hart, Stevie Wright, John Paul Young, Helen Reddy, Redgum, Hot City Bump Band, Jo Jo Zep & The Falcons, Colleen Hewett, Linda George, Ayers Rock and Brian Cadd.

1980s

Nick Cave performing in 1986 Nick Cave 1986.jpg
Nick Cave performing in 1986

The 1980s saw a breakthrough in the independence of Australian rock—Nick Cave said that before the 1980s, "Australia still needed America or England to tell them what was good". [35] Shaddap You Face, by Joe Dolce, became, and still remains, the most successful Australian produced original-song of all time. An example of Australians breaking free from convention came in TISM. Formed in 1982, the band is known for its anonymous members, outrageous stage antics, and humorous lyrics. In the words of the band, "There's only one factor left that makes us work. And that factor, I think, we've burned away, with the crucible of time, into something that's actually genuine." [36]

Men at Work, Divinyls, and Hoodoo Gurus, all formed between 1979 and 1981, would go on to be hugely successful worldwide. Men at Work's "Down Under" hit number one in Australia, Europe, the UK, Canada, and the United States, and was considered the theme song of Australia's successful showing at the 1983 America's Cup. [37] Hoodoo Gurus, meanwhile, hit it big on the US college circuit—all of their 1980s albums topped the chart. [38] At the same time, a number of Australian bands relocated to the U.K. and particularly London to further their artistic and commercial endeavours, among whom were The Moodists, The Go-Betweens, The Birthday Party, Laughing Clowns, Foetus, SPK, The Triffids, and Tiny Town. [39]

In the 1980s, numerous innovative Australian rock bands arose. These included Hunters & Collectors, The Church, TISM, Divinyls, Hoodoo Gurus, Mondo Rock, the Sunnyboys, Men at Work, The Go-Betweens, The Triffids, Lime Spiders, Big Pig, The Celibate Rifles, the Cosmic Psychos and the Hard-Ons. During this period a number of Australian bands began to reflect their urban environment in songs dealing with day-to-day experiences of inner-city life e.g. Paul Kelly & the Coloured Girls perhaps best exemplified in his songs "From St Kilda to Kings Cross" and "Leaps & Bounds", John Kennedy's Love Gone Wrong in songs such us "King Street" and The Mexican Spitfires in tracks like "Sydney Town" and "Town Hall Steps." This decade also saw the rise of world music groups like Dead Can Dance; of special importance is Yothu Yindi, who helped found the field of indigenous rock. Then soap star Kylie Minogue began her music career in the late 1980s and released "The Loco-Motion" which became the biggest selling single in Australia for the decade and quickly catapulted her to worldwide stardom. The first annual ARIA Music Awards were held in 1987. John Farnham and Crowded House were the most successful artists at the event.

Grunge
Cosmic Psychos, one of several Australian bands which influenced and interacted with the Seattle grunge scene CosmicPsychos2007.jpg
Cosmic Psychos, one of several Australian bands which influenced and interacted with the Seattle grunge scene

Grunge is a subgenre of alternative rock and a subculture that emerged during the mid-1980s in Australia and in the Pacific Northwest U.S. state of Washington. The early grunge movement in the US revolved around Seattle's independent record label Sub Pop and that region's underground music scene. By the early 1990s its popularity had spread, with grunge bands appearing in California, then emerging in other parts of the United States and in Australia, building strong followings and signing major record deals. Mark Arm, the vocalist for the Seattle band Green River—and later Mudhoney—stated that the term had been used in Australia in the mid-1980s to describe bands such as King Snake Roost, The Scientists, Salamander Jim, and Beasts of Bourbon. [40] Arm used grunge as a descriptive term rather than a genre term, but it eventually came to describe the punk/metal hybrid sound of the Seattle music scene. [41] C

Several Australian bands, including The Scientists, Cosmic Psychos and Feedtime, are cited as precursors to grunge, their music influencing the Seattle scene through the college radio broadcasts of Sub Pop founder Jonathan Poneman and members of Mudhoney. [42] [43] Chris Dubrow from The Guardian states that in the late 1980s, Australia's "sticky-floored...alternative pub scene" in seedy inner-city areas produced grunge bands with "raw and awkward energy" such as The Scientists, X, Beasts of Bourbon, feedtime, Cosmic Psychos and Lubricated Goat. [44] Dubrow said "Cobain...admitted the Australian wave was a big influence" on his music. [44] Everett True states that "[t]here's more of an argument to be had for grunge beginning in Australia with the Scientists and their scrawny punk ilk." [10]

1990s: Indie rock

Psychobilly group The Living End were successful internationally in the 1990s Livingendonstage2007.JPG
Psychobilly group The Living End were successful internationally in the 1990s

The 1990s saw continued overseas success from groups such as AC/DC, [45] INXS, [46] Men at Work, Midnight Oil, The Bad Seeds, [47] and a new indie rock scene started to develop locally. Sydney-based Ratcat were the first new band to achieve a mainstream following, [48] while bands such as the Hoodoo Gurus got off to a slower start; their debut album Stoneage Romeos earned a small following but failed to captivate a mainstream that at the time "didn't get it". [49] Later reviews would describe the band as "integral to the story of Aussie indie music", influencing bands including Frenzal Rhomb and Jet. [50] The band would go on to become an ARIA Hall of Fame inductee. [51] The Church, meanwhile, was highly successful in the 1980s, only to see their careers diminish in the next decade; 1994's Sometime Anywhere saw the band recede from a mainstream audience. [52]

Alternative rock began to gain popularity midway through the 1990s, with grunge and Britpop styles especially popular, resulting in a new wave of Australian bands. Some, such as Savage Garden, The Living End and Silverchair, also gained quick success in the United States, [53] while You Am I, Jebediah, Magic Dirt, Something for Kate, Icecream Hands and Powderfinger gained more success locally. [54] Bands such as Regurgitator and Spiderbait were hit heavily by the post-grunge backlash, losing in sales and critical acclaim. [53] [55]

Much of the success of rock in Australia is attributed to the non-commercial Australian Broadcasting Corporation's radio station Triple J, which focuses heavily on Australian alternative music, and has done so since its formation as 2JJ in 1975. [56] Throughout the station's history, they have helped jump start the careers of numerous bands, through programs such as Unearthed , the Australian Music program Home & Hosed and the Hottest 100. [57]

The Big Day Out festival has showcased Australian and international acts, with line-ups spanning multiple genres, with an alternative focus. It has become highly popular amongst musicians; Foo Fighters lead singer Dave Grohl said "We play the Big Day Out because it's the best tour in the world. You ask any band in the world – they all want to play the Big Day Out, every single one of them." [58] Other festivals, such as Homebake, Livid, and Splendour in the Grass, are also rock focused, and together with Big Day Out are "united by the dominant presence of the indie-guitar scene". [59] Australia made its first appearance in the Eurovision Song Contest 2015 after being granted a spot in the final by the EBU.

Electronic and dance music

Australian electronic music duo The Presets Julian 2008.jpg
Australian electronic music duo The Presets
Pendulum bassist Gareth McGrillen. The band mixes numerous genres, including electronic. Gareth McGrillen Pendulum 2007.jpg
Pendulum bassist Gareth McGrillen. The band mixes numerous genres, including electronic.

Electronic music in Australia emerged in the 1990s, but takes elements from funk, house, techno, trance and numerous other genres. [61] Early innovators of the genre in Australia include Severed Heads, who formed in 1979 and were the first electronic group to play the Big Day Out. [62] The band achieved long term success, winning an ARIA Award in 2005 for "Best Original Soundtrack" for The Illustrated Family Doctor, where lead singer Tom Ellard said the band would never fit into mainstream music. [63] FSOM members included Davide Carbone, Josh Abrahams and Steve Robbins, were an Australian electronic music groups. They released tracks on Candyline Records. Frank De Wulf's, Two Thumbs Records and Carl Cox's Ultimatum. FSOM also played at several Big Day Out festivals and also supported artists including Björk, Tricky and The Prodigy. Future Sound of Melbourne won the ARIA Award for "Best Dance Release" for their Chapter One album in 1996. The Avalanches released their debut album Since I Left You .

The genre has developed a following, to the point the University of Adelaide offers an Electronic Music Unit, teaching studio production and music technology. [64] The School of Synthesis was also set up in Melbourne by renowned artists including Davide Carbone to specifically cater to Australian Electronic producers. Traditional rock bands such as Regurgitator have developed an original sound by combining heavy guitars and electronic influences, [65] and rock-electro groups, most notably Rogue Traders, have become popular with mainstream audiences. [66] [67] The genre is most popular in Melbourne, with multiple music festivals held in the city. [68] However, Cyclic Defrost , the only specialist electronic music magazine in Australia, was started in Sydney (in 1998) and is still based there. [69] [70] Radio still lags somewhat behind the success of the genre—producer and artist manager Andrew Penhallow told Australian Music Online that "the local music media have often overlooked the fact that this genre has been flying the flag for Australian music overseas". [71] Over the past fifteen years, bands and producers such as Ollie Olsen, Angelspit, Cut Copy, The Presets, Miami Horror, Bag Raiders, The Potbelleez, Art vs. Science, Empire of the Sun, Sneaky Sound System, Little Nobody, Faydee and Pnau have made a name for themselves in the genre. The success of The Presets at the ARIA Music Awards of 2008 and the Potbelleez in the mainstream media was indicative of the rapidly growing popularity of electro house, progressive house and hardstyle in Australia.

Cut Copy frontman Dan Whitford has attributed the band's success to a change in public attitude as much as the band's quality, explaining "It's a case partly of timing and a growing awareness of electronic music in Australia". [72] Pnau's first album, Sambanova, was released in 1999, at a time when many in Australia considered electronic music to be a dying breed. Nonetheless, the band travelled around the US and Europe, and slowly made a name for themselves, and for a rebirth of electronic music in the country. [73] [74] Individual DJs are also pioneering the electronic music scene globally. Dirty South (DJ) was ranked 59 in the 2009 DJ Mag Top 100 DJ poll. In recent years electronic festivals such as Stereosonic have overtaken other genres of music festivals to have the largest attendance in Australia.

Several festivals started developing over time, these festivals include: Defqon 1, IQON, [75] Masters of Hardcore, Utopia, [76] Doof, Rainbow Serpent Festival and Stereosonic. This also includes Teknivals which are generally held outside big cities and are not widely publicized.

Electronic

Hardcore

In recent years, Australia has become known for hardcore punk bands such as:

Metal

Further to this, the Australian Metal scene has gained prominence in the past number of years with bands such as:

Punk rock/pop punk

Australia has built a strong and ongoing cult following of punk bands such as:

Alternative rock

Australia has created many alternative rock bands such as:

Hip-hop

The Australian hip-hop scene has begun to gain national momentum through bands such as:

Grime

Grime a British electronic genre [77] [78] that emerged in the early 2000s, derivative of electronic music such as UK garage and jungle, [79] and draws influence from dancehall, ragga, and hip hop. [80] The style is typified by rapid, syncopated breakbeats, generally around 140 bpm, [79] [81] and often features an aggressive or jagged electronic sound. [82] Rapping is also a significant element of the style, and lyrics often revolve around gritty depictions of urban life. [83]

Australian grime emerged in 2010 after UK-born [84] artist Fraksha released his mixtape It's Just Bars. [85] Fraksha is widely regarded as a pioneer of the scene in Australia. [86] [87] [85] [88] Fraksha, alongside fellow MC's Scotty Hinds, Diem and Murky, would go on to form the first Australian based grime collective, Smash Brothers, in 2010. [89] [85] Smash Brothers pioneered what would become Australian grime music, and were known for their high energy performances. For the most part, few members initially released a lot of music other than Fraksha, but all were active in the raving scene where they would go on to expose many to grime music. [87] They also worked with UK based artists such as Skepta, Foreign Beggars and Dexplicit. [85] Another first for Fraksha was the launch of Melbourne radio show The Sunday Roast on KissFM with Affiks, dedicated to grime and Dubstep music. In 2011 he started the first Australian grime night alongside Affiks and Artic called 50/50. Fraksha in 2011 would go on to perform in New Zealand alongside UK grime pioneer Dizzee Rascal. [90] [85]

The resurgence grime was experiencing in the UK during the mid 2010s would also reach Australia. [91] [92] [93] The sound's resurgence also affected the popularity of grime in Australia, with various other Australian MC's picking up the sound with success, such as Diem, Alex Jones, Shadow, Talakai, Nerve, Wombat and Seru. [94] [95] [96]

Art music

Classical music

Jazz

James Morrison James morrison.jpg
James Morrison

The history of jazz and related genres in Australia extends back into the 19th century. During the gold rush locally formed blackface (white actor-musicians in blackface) minstrel troupes began to tour Australia, touring not only the capital cities but also many of the booming regional towns like Ballarat and Bendigo. Minstrel orchestra music featured improvisatory embellishment and polyrhythm in the (pre-classic) banjo playing and clever percussion breaks. Some genuine African-American minstrel and jubilee singing troupes toured from the 1870s. A more jazz-like form of minstrelsy reached Australia in the late 1890s in the form of improvisatory and syncopated coon song and cakewalk music, two early forms of ragtime. The next two decades brought ensemble, piano and vocal ragtime and leading (mostly white) American ragtime artists, including Ben Harney, "Emperor of Ragtime" Gene Greene and pianist Charley Straight. Some of these visitors taught Australians how to 'rag' (improvise unsyncopated popular music into ragtime-style music).

By the mid-1920s, phonograph machines, increased contact with American popular music and visiting white American dance musicians had firmly established jazz (meaning jazz inflected modern dance and stage music) in Australia. The first recordings of jazz in Australia are Mastertouch piano rolls recorded in Sydney from around 1922 but jazz began to be recorded on disc by 1925, first in Melbourne and soon thereafter in Sydney. Soon after World War II, jazz in Australia diverged into two strands. One was based on the earlier collectively improvised called "dixieland" or traditional jazz. The other so-called modernist stream was based on big band swing, small band progressive swing, boogie woogie, and after WWII, the emerging new style of bebop. By the 1950s American bop, itself, was dividing into so-called 'cool' and 'hard' bop schools, the latter being more polyrhythmic and aggressive. This division reached Australia on a small scale by the end of the 1950s. From the mid-1950s rock and roll began to draw young audiences and social dancers away from jazz. British-style dixieland, called Trad, became popular in the early 1960s. Most modern players stuck with the 'cool' (often called West Coast) style, but some experimented with free jazz, modal jazz, experiment with 'Eastern' influences, art music and visual art concept, electronic and jazz-rock fusions.

The 1970s brought tertiary jazz education courses and continuing innovation and diversification in jazz which, by the late 1980s, included world music fusion and contemporary classical and jazz crossovers. From this time, the trend towards eclectic style fusions has continued with ensembles like The Catholics, Australian Art Orchestra, Tongue and Groove, austraLYSIS, Wanderlust, The Necks and many others. It is questionable whether the label jazz is elastic enough to continue to embrace the ever-widening range of improvisatory musics that are associated with the term jazz in Australia. However, mainstream modern jazz and dixieland still have the strongest following and patron still flock to hear famous mainstream artists who have been around for decades, such as One Night Stand players Dugald Shaw and Blair Jordan, reeds player Don Burrows and trumpeter James Morrison and, sometimes, the famous pioneer of traditional jazz in Australia, Graeme Bell. A non-academic genre of jazz has also evolved with a harder "street edge" style. The Conglomerate, The Bamboos, Damage, Cookin on Three Burners, Black Money John McAll are examples of this. See:

Organisations

Major organisations involved in providing music funding or in receipt of music funding are:

Funding agencies

Music not-for-profit organisations

Symphony orchestras

Orchestras (pit)

Orchestras (youth)

Chamber orchestras

Chamber ensembles

Music competitions

Choirs

Opera companies

See also

Related Research Articles

Music of Japan overview of musical traditions in Japan

The music of Japan includes a wide array of performers in distinct styles, both traditional and modern. The word for "music" in Japanese is 音楽 (ongaku), combining the kanji 音 on (sound) with the kanji 楽 gaku (enjoy). Japan is the largest physical music market in the world, worth US$2 billion in sales in physical formats in 2014, and the second-largest overall music market, worth a total retail value of 2.6 billion dollars in 2014 – dominated by Japanese artists, with 37 of the top 50 best-selling albums and 49 of the top 50 best-selling singles in 2014.

Midnight Oil Australian band

Midnight Oil are an Australian rock band composed of Peter Garrett, Rob Hirst (drums), Jim Moginie, Martin Rotsey (guitar) and Bones Hillman. The group was formed in Sydney in 1972 by Hirst, Moginie and original bassist Andrew James as Farm: they enlisted Garrett the following year, changed their name in 1976, and hired Rotsey a year later. Peter Gifford served as bass player from 1980–1987.

INXS Australian rock band

INXS were an Australian rock band, formed as The Farriss Brothers in 1977 in Sydney, New South Wales. The band's founding members were bassist Garry Gary Beers, main composer and keyboardist Andrew Farriss, drummer Jon Farriss, guitarist Tim Farriss, lead singer and main lyricist Michael Hutchence, and guitarist and saxophonist Kirk Pengilly. For twenty years, INXS was fronted by Hutchence, whose magnetic stage presence made him the focal point of the band. Initially known for their new wave/pop style, the band later developed a harder pub rock style that included funk and dance elements.

Catherine Yvette "Kate" Ceberano is an Australian singer who performs in the soul, jazz, and pop genres, as well as in film and musicals such as Jesus Christ Superstar. Her song "Pash" received a gold sales certification in 1998.

The music of Finland can be roughly divided into categories of folk music, classical and contemporary art music, and contemporary popular music.

British popular music

British popular music and popular music in general, can be defined in a number of ways, but is used here to describe music which is not part of the art/classical music or Church music traditions, including folk music, jazz, pop and rock music. These forms of music have particularly flourished in Britain, which, it has been argued, has influenced popular music disproportionately to its size, partly due to its linguistic and cultural links with many countries, particularly the former areas of British control such as United States, Canada, and Australia, but also a capacity for invention, innovation and fusion, which has led to the development of, or participation in, many of the major trends in popular music. This is particularly true since the early 1960s when the British Invasion led by The Beatles, helped to secure British performers a major place in development of pop and rock music, which has been revisited at various times, with genres originating in or being radically developed by British musicians, including: blues rock, heavy metal music, progressive rock, punk rock, British folk rock, folk punk, acid jazz, drum and bass, grime, afroswing, dubstep and Britpop.

This article includes an overview of the major events and trends in popular music in the 2000s.

Human Nature (band) Australian band

Human Nature is an Australian boy band, which formed in 1989, with Toby Allen, Phil Burton and brothers, Andrew and Mike Tierney. Originally they were a doo-wop group, the 4 Trax, while the members were schoolmates. After signing with Sony Music as Human Nature, they released their debut album, Telling Everybody, in 1996. Four of their albums have reached number one on the ARIA Albums Charts, Counting Down, Reach Out: The Motown Record, Dancing in the Street: The Songs of Motown II and Gimme Some Lovin': Jukebox Vol II. Three other albums reached number two, Get Ready, Jukebox, and Romance of the Jukebox. Their top 10 hits on the related ARIA Singles Chart are "Wishes", "Don't Say Goodbye", "Everytime You Cry", "Don't Cry", "Eternal Flame", "He Don't Love You" and "When You Say You Love Me". Three of their albums received multi-platinum certification from ARIA, and four have received platinum, with a total shipment of over 1.6 million records in Australia, as of April 2011.

Rock music in Australia, also known as Oz rock, Australian rock and Aussie rock, is rock music from Australia. The nation has a rich history of rock music and an appreciation of the roots of various rock genres, usually originating in the United States or Britain, but also continental Europe, and more recently the musical styles of Africa. Australian rock has also contributed to the development of some of these genres, as well as having its own unique Australiana sound with pub rock and its indigenous music.

Anthony Callea Australian singer

Anthony Cosmo Callea is an Australian singer-songwriter and stage actor who rose to prominence as the runner-up in the 2004 season of Australian Idol. Callea's debut single, a cover of Celine Dion and Andrea Bocelli's song "The Prayer" is the fastest-selling single by an Australian artist, held the No.1 spot on the ARIA Singles Chart for five weeks, a record for the debut single of an Australian Idol contestant, and was the second-highest selling Australian single of the last decade.

Grime is a genre of electronic dance music that emerged in London in the early 2000s. It developed out of earlier UK electronic music styles, including UK garage and jungle, and draws influence from dancehall, ragga, and hip hop. The style is typified by rapid, syncopated breakbeats, generally around 140 bpm, and often features an aggressive or jagged electronic sound. Rapping is a significant element of the style, and lyrics often revolve around gritty depictions of urban life.

Katie Noonan Australian singer

Katie Anne Noonan is an Australian singer-songwriter. In addition to a successful solo career encompassing opera, jazz, pop, rock and dance, she sings in the groups george and Elixir; performs with her mother Maggie Noonan; and plays with her band The Captains.

Taxiride is an Australian rock band. Formed in 1997, the band consists of Dan Hall, Jason Singh, Tim Watson and Tim Wild.

Josh Pyke is an Australian singer-songwriter and musician.

The trend of Australian music have often mirrored those of the United States and United Kingdom. Australian Aboriginal music during the prehistory of Australia is not well documented; this timeline will concentrate on the time since radio began broadcasting in Australia (1923).

The Choir of Hard Knocks consisted of homeless and disadvantaged people, which was formed in September 2006 with 47 members. It was developed by cooperation between Jonathon Welch, Jason Stephens and RecLink. It came to prominence as the subject of a five-part Australian Broadcasting Corporation documentary TV series of the same name, broadcast weekly from May 2007. They released two albums, Choir of Hard Knocks: the Voice of RecLink, which peaked at No. 21 on the ARIA Albums Chart, and Songs of Hope and Inspiration, which reached No. 39. A DVD of the series also titled, Choir of Hard Knocks: the Voice of RecLink, was issued in August. A second series in November 2007 followed the choir members preparing for a concert at the Sydney Opera House. In April 2009 the choir was replaced by the Choir of Hope and Inspiration after a falling-out between Welch and RecLink.

This article includes an overview of the major events and trends in popular music in the 1970s.

The Temper Trap Australian band

The Temper Trap is an Australian indie rock band formed in 2005 by Dougy Mandagi, Jonathon Aherne, and Toby Dundas. In 2008, the group relocated from Melbourne to London. The band released their debut album Conditions in June 2009 to favourable reviews and commercial success; it peaked at No. 9 on the ARIA Albums Chart and into the top 30 on the UK Albums Chart. Its lead single, "Sweet Disposition", peaked in the top 10 on the Belgian, Irish and UK Singles Charts and reached No. 14 on the ARIA Singles Chart. At the ARIA Music Awards of 2010 in November, The Temper Trap won Best Group and Most Popular Australian Single for "Sweet Disposition". Their eponymous second album was released in late May/early June 2012 under Liberation Music (AUS), Infectious Records (UK) and Glassnote Records (US). The album won the band Best Rock Album, and they also won Best Group at the 2012 ARIA Awards. In October 2013 guitarist Lorenzo Sillitto left the band, during the recording of the third album.

This article describes trends in popular music in the 2010s. See also: 2010s in the music industry.

ABC Music Australian independent record label that operates as a subsidiary of Australian Broadcasting Corporation

ABC Music is an Australian independent record label that operates as part of the Australian Broadcasting Corporation. The label has been in existence for over 40 years and has a large catalogue of recordings by Australian and international artists.

References

  1. "Aboriginal and Torres Strait Islander arts". Australian Council of the Arts. Archived from the original on 1 January 2008. Retrieved 12 April 2008.
  2. Gurruwiwi, Djalu; David Lindner. The Didgeridoo Phenomenon. Traumzeit-Verlag. ISBN   3-933825-42-3.
  3. Chaloupka, George (1999). Journey in Time: The World's Longest Continuing Art Tradition. Reed. p. 189. ISBN   0-7301-0310-2.
  4. Clinton Walker (2000). Buried Country: The Story of Aboriginal Country Music. Sydney: Pluto Press. p. 323. ISBN   1-86403-152-2.
  5. 1 2 3 4 "Contemporary Aboriginal Music". Aboriginal Art Online. Retrieved 12 April 2008.
  6. "Music honours for Jimmy Little and Peter Sculthorpe". University of Sydney. 6 June 2005. Retrieved 12 April 2008.
  7. Jonathan Lewis. "Tribal Voice > Overview". AllMusic . Archived from the original on 3 June 2009. Retrieved 12 April 2008.
  8. "Yothu Yindi – Treaty". australian-charts.com. Retrieved 12 April 2008.
  9. "Winners by artist: Yothu Yindi". ARIA Awards. Archived from the original on 13 February 2009. Retrieved 12 April 2008.
  10. 1 2 Bush songs and music – Australia's Culture Portal. Cultureandrecreation.gov.au. Retrieved on 2011-04-14.
  11. Slim Dusty – Chronicler of the Bush. Historyofcountrymusic.com.au (2003-09-19). Retrieved on 2011-04-14.
  12. Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 266. ISBN   1-904994-10-5.
  13. "Frank Ifield Awards". AllMusic . Retrieved 10 July 2014.
  14. "Wiggles beat Kylie Minogue, Russell Crowe to top of earnings list". www.meeja.com.au. 10 September 2008. Retrieved 10 September 2008.
  15. Wright, Anders (25 March 2008). "Baby's first rock band". San Diego Citybeat. Archived from the original on 20 August 2008. Retrieved 31 March 2008.
  16. 1 2 3 "About Us". The Wiggles. Archived from the original on 18 August 2007. Retrieved 23 January 2007.
  17. Markstrom, Serena (21 March 2008). "Fab Four of kid rock comes to town". The Register Guard. Retrieved 23 March 2008.
  18. They won in 1995 for "Big Red Car", in 1996 for "Wake Up Jeff!", in 1998 for "Toot Toot!", in 2005 for "Live Hot Potatoes" "History: List of winners". ARIA Awards 2007. Archived from the original on 13 February 2009. Retrieved 2 October 2008. Additionally, the Aria Awards List by performers omits the Wiggles nomination and winning of the award in 2007 for Pop Goes the Wiggles and Racing to the Rainbow in 2006.
  19. "Boom Times", The Sydney Morning Herald, 13 February 2006
  20. 1 2 McFarlane, Ian (1999). "Encyclopedia entry for 'Renée Geyer'". Encyclopedia of Australian Rock and Pop. St Leonards, NSW: Allen & Unwin. ISBN   1-86448-768-2. Archived from the original on 3 August 2004. Retrieved 7 May 2009.
  21. "Renée Geyer". HowlSpace – The Living History of Our Music. Ed Nimmervoll. Archived from the original on 27 July 2012. Retrieved 22 January 2014.
  22. Top 50 Australian Artist Singles 2009 Retrieved 7 January 2010
  23. ARIA Charts – End Of Year Charts – Top 100 Singles 2009 Retrieved 7 January 2010
  24. Hung, Steffen. "Discography Paulini". australian-charts.com.
  25. "Australian Recording Artists Make ARIA Chart History". www.aria.com.au.
  26. "Rhino's Urban Music Awards 2007 – Review". Hiphopn.com. Archived from the original on 23 September 2011.
  27. Hung, Steffen. "Discography Jessica Mauboy". australian-charts.com.
  28. ARIA Awards 2009: History: Winners by Year Archived 24 November 2009 at the Wayback Machine Retrieved 29 July 2010
  29. Hardwicke, Al. "Toots and the Maytals to Ignite UK Festival Circuit". African & Caribbean Music Circuit Ltd. Web. 2007-06-21. Retrieved March 13, 2017.
  30. "reggae". Dictionary.com Unabridged. Random House, Inc. 14 March 2017.
  31. Roots of reggae. ABC Radio National (Australian Broadcasting Corporation). Web. Sunday 29 December 2013. Retrieved 15 March 2017.<http://www.abc.net.au/radionational/programs/rarecollections/reggae/5149582>
  32. Australian pop music – Australia's Culture Portal. Cultureandrecreation.gov.au. Retrieved on 2011-04-14.
  33. O'Keefe, John Michael (Johnny) (1935–1978) Biographical Entry – Australian Dictionary of Biography Online. Adb.online.anu.edu.au. Retrieved on 2011-04-14.
  34. Kent, David Martin (September 2002), "Appendix 6: The Record Ban" (PDF), The place of Go-Set in rock and pop music culture in Australia, 1966 to 1974, Canberra, ACT: University of Canberra, pp. 265–269, archived from the original (PDF) on 4 September 2015 Note: This PDF is 282 pages. Retrieved 20 November 2010
  35. "Long Way to the Top: INXS to Exile 1976–1988". ABC Online . Retrieved 8 June 2008.
  36. Michael Dwyer (2 July 2004). "The phantom menace". The Age . Retrieved 8 June 2008.
  37. Atkinson, Ann; Linsay Knight; Margaret McPhee (1996). The Dictionary of Performing Arts in Australia. Allen & Unwin. p. 156. ISBN   1-86373-898-3.
  38. Buckley, Peter; Jonathan Buckley (2003). The Rough Guide to Rock. Rough Guides. p. 779. ISBN   1-84353-105-4.
  39. Stuart Coupe, for The Sun Herald, January 27, 1985
  40. True, Everett (20 January 2001). "No End in Sight: Mudhoney Is Alive and Well". The Stranger . Retrieved 11 September 2009.
  41. Heylin, Clinton. Babylon's Burning: From Punk to Grunge. Conongate, 2007. ISBN   1-84195-879-4, p. 606.
  42. Hennesy, Kate (August 11, 2013). "Cosmic Psychos: Uber-blokes punked, pumped and primed", The Sydney Morning Herald . Retrieved October 8, 2015.
  43. Rowe, Zan (September 26, 2008). "Jonathan Poneman from Sub-Pop takes five with the albums he wishes he'd released...", Mornings with Zan. Retrieved October 8, 2015.
  44. 1 2 Dubrow, Chris (7 April 2014). "Nirvana had nothing on Australia's Lubricated Goat". The Guardian. Retrieved 8 February 2017.
  45. "AC/DC > Charts & Awards > Billboard Albums". AllMusic . Retrieved 18 April 2008.
  46. "INXS > Charts & Awards > Billboard Albums". AllMusic . Retrieved 18 April 2008.
  47. "Australian rock music". Australian Culture Portal . Retrieved 20 April 2008.
  48. "Ratcat". Australian Music Online. Archived from the original on 17 September 2007. Retrieved 20 April 2008.
  49. Michael Dwyer (22 April 2005). "Guru worship". The Age . Retrieved 26 April 2008.
  50. Dan Raper (31 January 2007). "Hoodoo Gurus: Stoneage Romeos". PopMatters . Retrieved 26 April 2008.
  51. "Hall of Fame". ARIA . Retrieved 26 April 2008.
  52. Bernard Zuel (8 October 2005). "The Church". The Sydney Morning Herald . Retrieved 27 April 2008.
  53. 1 2 Kelsy Munro (November 2001). "Internationalists". JUICE.
  54. Jayson Argall (August 2001). "Bowling Maidens Over". Beat.
  55. Samantha Clode (December 1998). "Fish Tales". JUICE.
  56. Gayle Austin (12 January 2005). "Off the dial". The Sydney Morning Herald . Retrieved 10 May 2008.
  57. "Triple J Timeline". The Sydney Morning Herald . 12 January 2005. Retrieved 10 May 2008.
  58. "Summer's biggest day out rolls into Melbourne". The Age . 25 January 2003. Retrieved 10 May 2008.
  59. Joanne Cummings (6 December 2005). "Australian Indie Music Festivals as Scenes" (PDF). University of Tasmania. Archived from the original (PDF) on 3 September 2007. Retrieved 10 May 2008.
  60. "Howdy swingers". The Sydney Morning Herald . 16 April 2004. Retrieved 17 April 2008.
  61. "Australian Electronic music". Australian Independent Artists Network. Archived from the original on 17 March 2008. Retrieved 15 April 2008.
  62. "Severed Heads – The Illustrated Family Doctor OST". inthemix.com.au. 2 March 2005. Archived from the original on 11 May 2008. Retrieved 16 April 2008.
  63. Edmund Tadros (12 October 2005). "Mainstream is for frogs, says ARIA winner". The Sydney Morning Herald . Retrieved 16 April 2008.
  64. "Electronic Music Unit (EMU)". University of Adelaide. Archived from the original on 12 March 2008. Retrieved 15 April 2008.
  65. "Australian music". Australian Culture Portal. Archived from the original on 19 July 2008. Retrieved 16 April 2008.
  66. "Rogue Traders – Biography". take40. Archived from the original on 6 April 2008. Retrieved 16 April 2008.
  67. MacKenzie Wilson. "Rogue Traders > Overview". AllMusic . Retrieved 16 April 2008.
  68. Andrez Bergen (March 2006). "Steve Law & Zen Paradox". Cyclic Defrost . Archived from the original on 1 September 2007. Retrieved 16 April 2008.
  69. AMO Staff (11 July 2005). "Sebastian Chan – Cyclic Defrost Magazine/Frigid Productions/Sub Bass Snarl". Australian Music Online. Archived from the original on 4 August 2008. Retrieved 16 April 2008.
  70. Anna Burns. "Cyclic Defrost". Triple J . ABC Online . Retrieved 16 April 2008.
  71. AMO Staff (20 June 2005). "Andrew Penhallow – 2000AV & AIR producer". Australian Music Online. Archived from the original on 3 August 2008. Retrieved 16 April 2008.
  72. Christine Sams (7 April 2008). "Cut Copy show true colours". The Sydney Morning Herald . Retrieved 15 April 2008.
  73. "Class of 2008: Pnau". ninemsn. Archived from the original on 1 June 2010. Retrieved 16 April 2008.
  74. "PNAU". Access All Areas. Retrieved 16 April 2008.
  75. "Q-dance announces new outdoor festival for Australia: IQON". Jack Tregoning. Archived from the original on 6 October 2014. Retrieved 22 October 2014.
  76. "Utopia Music Festival". Time Out Sydney. Archived from the original on 31 March 2012. Retrieved 22 October 2014.
  77. "What Does wagwan Mean? | Slang by Dictionary.com". Everything After Z by Dictionary.com. Retrieved 18 November 2018.[ verification needed ]
  78. "An Idiot's Guide to EDM GenresGrime". Complex. Retrieved 18 November 2018.[ verification needed ]
  79. 1 2 McKinnon, Matthew (5 May 2005). "Grime Wave". Canadian Broadcasting Corporation . Archived from the original on 26 January 2007. Retrieved 23 January 2016.[ verification needed ]
  80. "Hip-Hop Or Dancehall? Breaking Down The Grime Scene's Roots". Complex UK. Retrieved 5 February 2017.[ verification needed ]
  81. Cowie, Richard Kylea (2017). Eskiboy. London: William Heinemann. p. 72. ISBN   978-1-785-15159-0.[ verification needed ]
  82. "Garage rap/Grime overview". AllMusic . Retrieved 9 February 2017.[ verification needed ]
  83. Bramwell, Richard (2012). UK Hip-Hop, Grime and the City: The Aesthetics and Ethics of London's Rap Scenes. Routledge. ISBN   9781135085971.[ verification needed ]
  84. "Fraksha – My Way out 01.03.2013". obeserecords.com. Retrieved 21 January 2019.[ verification needed ]
  85. 1 2 3 4 5 "Fraksha – It's Just Bars Mixtape". aahh. 13 April 2010. Retrieved 21 January 2019.[ verification needed ]
  86. Bernard, Jesse; Bassil, Ryan (3 January 2019). "How Grime Grew From London into a Thriving International Entity". Noisey. Retrieved 21 January 2019.[ verification needed ]
  87. 1 2 Ep. 11 - His Way featuring Fraksha , retrieved 21 January 2019[ verification needed ]
  88. Sanchez, The Lesson w/ DJ (3 February 2018). "How Fraksha Helping The UK Grime Movement Go International". The Source. Retrieved 21 January 2019.[ verification needed ]
  89. "Smash Bros (Alex Jones, Diem, Fraksha, Scotty Hinds)". Australian Hip Hop Directory. Retrieved 21 January 2019.[ verification needed ]
  90. "Fraksha". Australian Hip Hop Directory. Retrieved 21 January 2019.[ verification needed ]
  91. "The Fascinating Resurgence Of British Grime As A Global Genre". UPROXX. 1 June 2017. Retrieved 21 January 2019.[ verification needed ]
  92. Manson, Ben (1 February 2017). "It's Grime Worldwide". guestlist.net. Retrieved 21 January 2019.[ verification needed ]
  93. "Interview: Fraksha Unites Australia's Standout MCs For The 'Grime Down Under' Mixtape". Life Without Andy. Retrieved 21 January 2019.[ verification needed ]
  94. The Hip Hop Show Cypher: underground artists you need to know, Australian Broadcasting Corporation, 16 November 2018, retrieved 21 January 2019[ verification needed ]
  95. "PREMIERE: Melbourne's SERU Levels Up With Fraksha on New Single 'Dead Zone'". aahh. 16 November 2018. Retrieved 21 January 2019.[ verification needed ]
  96. Latukefu, Hau (12 October 2017). "Meet the kings of Australia's secret Grime scene". triple j. Retrieved 21 January 2019.[ verification needed ]
  97. Nexas Quartet

Further reading