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      by Published on 21st January 2012 02:48 PM

      The Alternative Gig Guide

      Edition 1 Movie



      My Rough Diamond Child

      Helmut Katterl finally convinced me to publish this little mag with him as a partner. It was a wild ride...
      I thought this movie of the mag serves the purpose well as you can pause the pages if you choose to read the rock history of that era.

      I want to add tracks that are pertinent to each issue of TAGG, so if you were in any of those bands I would love to hear from you and possibly send me any updates, requiems or current gigs, giveaways for current product, etc..

      I've chosen Dave Hole, for it was his 3 piece from WA, along with the lounge room gigs from Men at Work and The Fabulaires at an infamous Coppin Street East Malvern house, and putting on my own Saturday afternoon gigs at The Waterside Hotel, featuring Dave Hole Band, Flash Annie and the Floyd Boys, The Dead Livers, Bush Turkys and The Illegal Smiles that inspired the magazines publication.

      Helmut had had a similar idea and as we nutted it out we chose my format, I had been publishing The Visitor's Guide to Melbourne as a pocket size and it made a lot more sense than a ring binder affair. He drove me so nuts about it I eventually relented and told him that I'm going to Bali for 10 days and if he had the infrastructure and staff in place when I got back,I would go ahead.The size was decided upon as it fitted into the back pocket of Levi 501s and easily into most girl's hand bags.

      You just couldn't easily find out who was playing where or when. The Age Weekender was doing as well as it could but it just did not cover the wealth of live music being played in Melbourne at the time.

      We created the first real Street Mag, TAGG told you what's happening!

      by Published on 30th December 2011 07:41 PM  Number of Views: 8507 


      The following is an article on Ron Tudor, the Grandfather of Oz Rock recording, written by Al Webb for TAGG's first issue on June 14th 1979

      Ron Tudor (“I’m very old- 55”) is the managing director of Fable Records and the President of the Australian Music Maker’s Association. He has been in the music industry for 23 years and started at the now defunct W&G Records as a sales rep in 1956.

      Here he discusses the AMMA in the first of a series of stories which will look at…


      By Al Webb
      Australian artists are shortly to be given a fairer go on the nation’s airwaves, according to the chairman of the Australian Music Makers’ Association, Mr Ron Tudor. Mr Tudor said last week discussions had been held with the bodies concerned and he expected a quota of 30% Australian content for all radio music shows to be adopted within the next few weeks.

      “We took a delegation to the Minister for Post and Telecommunications, Mr Staley, and questioned the delays in the implementing a quota which is in line with a recommendation from the Australian Broadcasting Tribunal,” he said.

      “We are pushing for a 30% quota with an annual increase of 21/2% until the quota reaches 40%.” The announcement, if made, will be the culmination of much of the hard work by the A.M.M.A and particularly Mr Tudor, since the groups inception last November.

      The idea for an association was first mooted three or four years ago, Mr Tudor said. Discussions had been held with various record companies, artist and producers, but nothing had come ofit.“ I had the opinion for a long time that there was a need for a body to represent the interests of recording acts, especially solo artists, producers, and other individuals, who simply through their own ‘singleness’, could not represent themselves,” he said.

      ‘Then last year we invited about 40 people to a meeting in Sydney to discuss it, 35 turned up and, signifying that a need was there, and so the association was formed on the spot.” Mr Tudor emphasised that the association was NOT a union, “We don’t want to cut across any union’sactivities,” he said.

      With the association’s first aim now everything but fulfilled Mr Tudor is looking to the future for new members to help “Work for the betterment of the Australian talent in their own country. ”We are now approaching the contemporary artists to join up - and Skyhooks and Dragon have been some to accept,” he said.

      “We are also approaching the media people who have dealings with the music industry too, the Australian music industry needs a shot in the arm like the 30% quota, but the path is fraught with more than the obvious objections from the Federation of Australian Radio Broadcasters (i.e. Commercial radio).

      The federation disagrees with the principles of imposing a quota, claiming that records are programmed according to their merit. But to Mr Tudor comparisons of ‘merit’ are valueless.

      “A programmer confronted with the choice of an American single which is in the Top Ten at home and a brand new Australian record single, which of course has no chartings, will invariably choose the American record,” he said. “We are not seeking advantages for Australian performers; we just want a more equal level of opportunity.”

      Mr Tudor said the Industries Assistance Commission report of 1976 had revealed some interesting facts. Roughly $2 million in royalties a month leave Australia for the pockets of our overseas counterparts," he said.

      “And this is attributable to the effect radio airplay has on record sales. Other countries play a much greater
      percentage of the locally produced material than Australia – and they do it voluntarily.

      In America it’s 95% and in Britain it is 65%. Worldwide success depends on the local radio’s attitude to the domestic product. ”Mr Tudor said Australian was also fighting the age old stigma that ‘Australians don’t do anything in the show business as well as the Americans.

      Many people I’ve spoken to seem to think that they don’t hear many Australian records on the radio because there aren’t many around,” he said "The truth is that only about 10% of Australian recordings get airplay.”

      For more information on the A.M.M.A, Mr Tudor may be contacted at Fable.
      by Published on 19th January 2012 11:59 AM  Number of Views: 7533 
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      The George Hotel, Fitzroy Street St Kilda, past home
      of the Crystal ballroom.

      By Patrick Miles - June 14th, 1979

      A variety of senses motivate people to see a rock’n’roll band. It is impossible to cater to everybody’s whims and invariably someone is thoroughly peeved with the conditions in which they hear a band.
      Animal involvement, casual observance and uninterrupted study swirl together in differing levels of audience participation and someone’s night is
      by Published on 18th January 2012 01:20 AM
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      The Sports live to air radio and television hook-up at Bombay Rock last Friday was both a success and a disappointment.
      Their 8pm performance for the 3XY/2SM/2NX/4IP network was great – the audience was in ta co-operative mood, cheering right on cue and the band’s performance was one of the tightest.

      But somehow, between 9p, when they left the stage, and 12.30am
      by Published on 14th January 2012 01:09 AM  Number of Views: 18846 
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      By Lisa Waters

      At 26 Frank Howson is a familiar name in both theatre and recording circles.

      Frank has appeared in the stage productions that include Jesus Christ Superstar, Stop the World – I Want to Get Off and Death of a Salesman.

      He has written two stage shows for children in collaboration with Barry Ferrier, has just completed a musical on the life of Melbourne gangster Squizzy Taylor and has written songs for stacks of people e.g. Reg Livermore, John Paul Young, Brenda Kristen, Joan Brockenshire, Trevor White, etc.

      This article appeared in issue no.7 of TAGG Magazine in Melbourne on September 6th 1979

      by Published on 18th December 2011 01:04 PM
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      When Jane Clifton talks about Stiletto, you can’t help but get the feeling that she looks back on her days in a rock’n’roll band not so much with regret as with a wisdom and a knowledge that she didn’t have when the band started.

      Comfortably settled into a circuit of activ
      ities that includes acting, swingtime/jazz singing, and a late night spot at the Last laugh Theatre Restaurant, she can probably afford to feel that way.

      But the Stiletto sag, starting off with so much enjoyment and ending in so much disappointment, still looms large in her mind.
      “One of the great failings of Stiletto,” says Jane matter-of-factly, “was there was no single central figure to say this is the way ahead, this is the music we’ll play, these are the ideas we’ll have.”
      by Published on 21st July 2011 02:26 PM
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      30 Years on...



      Due to uncertainty about gaining entry, I made a very early appearance - so early in fact that only those concerned with the show were inside and I was able to observe the first few teenies hurtle to the front row like penguins fleeing a shark, and squeal and squabble for position.

      Actually, the place filled up at an amazing ...

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