Kent Music Report
The Kent Music Report was a weekly record chart of Australian music singles and albums, compiled by music enthusiast David Kent from May 1974 through to 1988. After 1988, the Australian Recording Industry Association, using the report under licence for a number of years, chose to produce their own listing as the ARIA Charts. Before the Kent Report, Go-Set magazine published weekly Top-40 Singles from 1966, Album charts from 1970 until the magazine's demise in August 1974. David Kent publicised the Australian charts from 1940–1973 in a retrospective fashion using state by state chart data obtained from various Australian radio stations. Kent had spent a number of years working in the music industry at both EMI and Phonogram records and had developed the report as a hobby. The'Kent Music Report' was first released on a commercial basis in July 1974 and was offered for subscription; the report data was based on radio station charts from around the country, which were amalgamated using a points based ranking system that Kent had developed.
These radio station charts were compiled using data collected from local record stores and, as such, were based on retail sales. In 1976, as funding from subscriptions grew, Kent himself started collecting sales data from retail stores to supplement the radio station charts, his operation grew and staff were employed to assist with research. Within a year or so, the major record companies started using the Report for their own marketing programs and it had established itself as the leading national chart publication. From 1982, retail sales data collected by Kent and his staff were used and radio station charts were dropped from the primary tabulations; some radio station chart. At about the same time, the Australian Recording Industry Association was established by the major record companies, being EMI, Festival Records, CBS, RCA, WEA and Polygram. From 1983 until 1988 ARIA had a licensing arrangement with Kent to use the Report under their own banner; the Kent Report continued however and in 1987 was rebadged as the'Australian Music Report'.
In 1988 the arrangement with ARIA ended and the ARIA Charts were produced in-house by the Association. In April 1998, the AMR charts ceased publishing, leaving the ARIA charts as the only nationally recognised chart publication. In 1993, David Kent published his Australian Chart Book 1970 - 1992; this was based on his chart data published as the "Kent Music Report" from May 1974 onwards. He specially "retro-calculated" charts based on state-based Australian radio station charts available to him dated before May 1974, to fill in the missing years. On this basis, he put together Australian national charts from 1940 - 1969, published as Australian Chart Book 1940 - 1969 in 2005. Before 1949, radio station music charts in Australia were only available on a monthly basis, this is reflected in his published data. Although ARIA published the official Australian National charts from 1988 onwards, Kent continued to calculate charts from this date, data from which were published in a third book in his Australian Chart Book series.
David Kent. Australian Chart Book 1970 - 1992. Australian Chart Book, St Ives, N. S. W. ISBN 0-646-11917-6. David Kent. Australian Chart Book 1940 - 1969. Australian Chart Book Pty Ltd, Turramurra, N. S. W. ISBN 0-646-44439-5. David Kent. Australian Chart Book 1993 - 2005. Australian Chart Book Pty Ltd, Turramurra, N. S. W. ISBN 0-646-45889-2. David Kent's Australian Chart Book website
Australian country music
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 and outlaws, songs of romance and of political protest. Early pioneers included Tex Morton, Smoky Dawson, Buddy Williams, Slim Dusty and Johnny Ashcroft all members of the Australian Roll of Renown. Notable musicians include: Adam Brand, Adam Harvey, Jasmine Rae, Troy Cassar-Daley, Davidson Brothers, Slim Dusty, Steve Forde, Joy McKean, Jean Stafford, Olivia Newton-John, John Williamson, Chad Morgan, Keith Urban, O'SHEA, Lee Kernaghan, Kasey Chambers. Others influenced by the genre include Tex Perkins. Popular songs include When the Rain Tumbles Down in July, Waltzing Matilda, Pub With No Beer, Lights on the Hill, I Honestly Love You, True Blue, Boys From the Bush, Not Pretty Enough.
Australia has a long tradition of country music, which has developed a style quite distinct from its US counterpart, influenced by English and Scottish folk ballads and by the traditions of Australian bush balladeers like Henry Lawson and Banjo Paterson. Country instruments, including the guitar, banjo and harmonica create the distinctive sound of country music in Australia and accompany songs with strong storyline and memorable chorus and lyrics; the style of Australian country music evolved under the influence of roll forms. While some subject matter may be constant, musical styles differ between traditional and contemporary bush ballads. Exemplars of the traditional bush ballad style include Slim Dusty's "When the Rain Tumbles Down in July" or "Leave Him in the Long yard" which have strong narrative in verses plus choruses set to a Pick n' Strum beat. Contemporary bush ballads may employ finger picking and strumming rock styles as in Lee Kernaghan's version of Leave Him in the Longyard, or in Keith Urban reworking of the Slim Dusty/Joy McKean classic "Lights on the Hill".
The distinctive themes and origins of Australia's bush 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, drovers and shearers. Convict and bushranger verses railed against government tyranny. Classic bush songs on such themes include: The Wild Colonial Boy, Click Go The Shears, The Eumeralla Shore, The Drover's Dream, The Queensland Drover, The Dying Stockman and Moreton Bay. 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 has been another theme. For much of its history, Australia's bush music belonged to an oral and folkloric tradition, was only published in print in volumes such as Banjo Paterson's Old Bush Songs, in the 1890s.
Waltzing Matilda regarded as Australia's unofficial National anthem, is a quintessential early Australian country song, influenced more by Celtic folk ballads than by American Country and Western music. The lyrics were composed by the poet Banjo Paterson in 1895; this strain of Australian country music, with lyrics focusing on Australian subjects, is known as "bush music" or "bush band music". Country and folk artists such as Gary Shearston, Lionel Long, Margaret Roadknight, Tex Morton, Slim Dusty, Rolf Harris, The Bushwackers, John Williamson, 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 Pat Drummond, Sara Storer and Lee Kernaghan draw on this heritage. Pioneers of a more Americanised popular country music in Australia included Tex Morton in the 1930s and other early stars like Buddy Williams, Shirley Thoms and Smoky Dawson. In 1932, Tex Morton arrived from New Zealand, aged 16, humped his swag around outback stations where he began to earn a name as a performer.
In 1936 he cut his first commercial records in Australia. He went on to establish a distinctly Australian bush ballad style, shifting from American songs to songs about Australia, he attained national popularity in the 1930s and formed a traveling "Rodeo and Wildwest Show" in the 1940s. In 1949 he travelled to North America and Europe enjoying great success as a stage hypnotist, working in film and with artists such as Hank Williams, he returned to Australia in the early 1960s, by which time a generation of performers had carved a place for the Australian themed country music he pioneered. Smoky Dawson cut his first recording in 1941: “I’m a Happy Go Lucky Cowhand”. In 1952, Dawson began a radio show, went on to national stardom as a yodelling, whip cracking, knife throwing, singing cowboy of radio, TV and film. Known as "Canada's Yodelling Cowboy", Donn Reynolds began a 40-year international career upon cutting several popular sides in 1947 on the Regal Zonophone label including "Old Bush Shanty Of Mine" and "Stockman's Lullaby".
He toured with Willard Ferrier's Famous Hillbillies in what was Sydney's first all-country format variety shows and became the voice of Australia's iconic Peters Ice Cream as the "Peter's Singing Cowboy". Reynolds achieved notoriety through song and
Grime (music genre)
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, draws influence from dancehall and hip hop; the style is typified by rapid, syncopated breakbeats around 140 bpm, features an aggressive or jagged electronic sound. Rapping is a significant element of the style, lyrics revolve around gritty depictions of urban life; the style spread among pirate radio stations and underground scenes before achieving some mainstream recognition in the UK during the mid-2000s through artists such as Dizzee Rascal, Lethal Bizzle, Wiley. Other prominent artists include Ghetts, Skepta, The Streets and grime crews such as Boy Better Know, Newham Generals, Roll Deep, Ruff Sqwad. In the mid-2010s, grime began to receive popular attention in Australia; the genre has been described as the "most significant musical development within the UK for decades." Grime emerged in the early 2000s in London. It has origins tied with UK pirate radio stations such as Rinse FM, Deja Vu FM, Major Fm, Freeze 92.7 and Raw Mission.
At this point, the style was known by a number of names, including 8-bar, nu shape and eskibeat, a term applied to a style developed by Wiley and his collaborators, incorporating dance and electro elements. This indicated the movement of UK garage away from its house influences towards darker themes and sounds. Among the first tracks to be labelled "grime" as a genre in itself were "Eskimo", "Ice Rink" and "Igloo" by Wiley, "Pulse X" by Musical Mob and "Creeper" by Danny Weed; the name grime was coined by journalists who termed the music's sub-bass heavy sound as "grimy", which subsequently became "grime". It has been suggested by artists themselves that the term fits as the music talks about "grimy goings-on" in deprived areas. Dizzee Rascal, Wiley and Lethal Bizzle were among the first to bring the genre to mainstream media attention in 2003–2004, with their albums Boy in da Corner, Treddin' on Thin Ice, Home Sweet Home and Against All Oddz respectively. Dizzee Rascal garnered widespread critical acclaim and commercial success with Boy in da Corner winning the 2003 Mercury Music Prize.
Despite the popularity and commercial success of individual artists, many underground grime artists failed to find a platform. In response to this, Boy Better Know's Jammer created Lords of the Mics in 2004, an annual DVD series, showcasing underground artists participating in battle rapping and giving them a platform through interviews. Lord of the Mics was sold by Jammer locally but helped smaller grime artists find a platform through selling the DVDs to independent record stores throughout the UK and helping grime form an internet following from uploads to YouTube; this series built a unique platform for artists, because the majority of prior exposure for these artists was through pirate radio. This video series allowed artists to be more visible, spread their sound. Grime has since received exposure from television stations including Channel U, Logan Sama's show on London radio station Kiss FM, Sir Spyro's Grime Show on the BBC's youth-oriented digital radio station BBC Radio 1Xtra. as well as Charlie Sloth's show, which showcases various grime artists such as Stormzy, Bugzy Malone and Trim with his popular segment "Fire in the Booth" and the MOBO Awards, which launched its first "Best Grime" category in 2014 when the show was being broadcast on BBC One.
Grime is not an offshoot of early electronic music, but rather a subgenre that draws from a wide variety of influences. Early innovative artists such as Dizzee Rascal and Wiley were able to take the strong thumping drums of drum and bass and vocal styles of UK garage and alter some of the rhythms of dancehall to capture all three genre’s essences and add a new half-time, down-tempo dimension to the mix; the genre’s popularity grew exponentially in the United Kingdom, as people across the scene’s musical spectrum appreciated grime’s eclectic mix of instrumentation and subcultures. This hybridization united many different music scenes, allowing for it to spread in the same word-of-mouth and mixtape-based style as hip-hop, yet still appeal to fans of electronic music, it paved the way for more electronic music artists to incorporate stronger African and Caribbean influences in the future. Grime never received the same attention worldwide that it did in the UK. Much like many other less mainstream forms of British electronic music, its main scene and fan base remained in the United Kingdom.
Although grime is recognised as a creative and innovative musical style, there are other contributing factors to its rapid and widespread growth in popularity. The MCs producing current grime music are overwhelmingly young as a group, the most well known names in the industry, Dizzee Rascal and Kano, both getting their first hits at the age of 16 with "I Luv U" and "Boys Love Girls" and the resultant package of "youth making music for youth" is seen as a crucial factor for grime's success. Grime producers battle in so-called "war dubs". In April 2014, Meridian Dan reached number 13 in the UK Singles Charts with his single "German Whip" featuring Big H and Jme. Two months after that, Skepta reached number 21 in the
Good Things (Australian music festival)
Good Things is a music festival held in major cities around Australia. It features a number of international and Australian music acts, from various genres including rock, metal and emo. At its inaugural festival, the headline acts were Stone Sour. In early 2018, music tour organiser Destroy All Lines announced Good Things, it would become the biggest music festival held in Australia since Soundwave in 2015. The Good Things festival debuted before playing at Sydney and Brisbane. On 19 November, the New South Wales Police Force issued a statement addressing accusations that they "made it impossible" for the Good Things festival to operate as all-ages in Sydney by imposing "multiple impediments" and charging “exorbitant” policing fees; the next day Destroy All Lines announced that the Sydney festival would no longer be an all-ages event, it would restricted to 18-and-over. Under-age ticket holders for the Sydney festival were contacted and given full refunds. Two weeks before the first festival, Destroy All Lines announced that under-aged ticket holders would have to be accompanied by a responsible adult at the Melbourne festival.
The move was met with outrage as festival-goers and parents alike described it as'unfair', the Brisbane festival had no restrictions and was an all-ages event. At the Sydney show, during Tonight Alive's set a 46-year-old security guard died due to a suspected heart attack. Good Things confirmed via their Facebook page; the 2018 Good Things festival was headlined by The Offspring playing their 1994 album Smash in its entirety, Stone Sour. The festival marked BABYMETAL's first Australian tour, welcoming one of the biggest crowds of the day; the 2018 festival was sponsored by Nintendo Switch, Marshall Amplification, Uppercut Deluxe, Jack Daniel's, Furphy Ale, Captain Morgan, Smirnoff. Flemington Racecourse, Melbourne, 7 December 2018 Parramatta Park, Sydney, 8 December 2018 Brisbane Showgrounds, Brisbane, 9 December 2018 Local acts Official website
Western Australia is a state occupying the entire western third of Australia. It is bounded by the Indian Ocean to the north and west, the Southern Ocean to the south, the Northern Territory to the north-east, South Australia to the south-east. Western Australia is Australia's largest state, with a total land area of 2,529,875 square kilometres, the second-largest country subdivision in the world, surpassed only by Russia's Sakha Republic; the state has about 2.6 million inhabitants – around 11 percent of the national total – of whom the vast majority live in the south-west corner, 79 per cent of the population living in the Perth area, leaving the remainder of the state sparsely populated. The first European visitor to Western Australia was the Dutch explorer Dirk Hartog, who visited the Western Australian coast in 1616; the first European settlement of Western Australia occurred following the landing by Major Edmund Lockyer on 26 December 1826 of an expedition on behalf of the New South Wales colonial government.
He established a convict-supported military garrison at King George III Sound, at present-day Albany, on 21 January 1827 formally took possession of the western third of the continent for the British Crown. This was followed by the establishment of the Swan River Colony in 1829, including the site of the present-day capital, Perth. York was the first inland settlement in Western Australia. Situated 97 kilometres east of Perth, it was settled on 16 September 1831. Western Australia achieved responsible government in 1890 and federated with the other British colonies in Australia in 1901. Today, its economy relies on mining, agriculture and tourism; the state produces 46 per cent of Australia's exports. Western Australia is the second-largest iron ore producer in the world. Western Australia is bounded to the east by longitude 129°E, the meridian 129 degrees east of Greenwich, which defines the border with South Australia and the Northern Territory, bounded by the Indian Ocean to the west and north.
The International Hydrographic Organization designates the body of water south of the continent as part of the Indian Ocean. The total length of the state's eastern border is 1,862 km. There are 20,781 km including 7,892 km of island coastline; the total land area occupied by the state is 2.5 million km2. The bulk of Western Australia consists of the old Yilgarn craton and Pilbara craton which merged with the Deccan Plateau of India and the Karoo and Zimbabwe cratons of Southern Africa, in the Archean Eon to form Ur, one of the oldest supercontinents on Earth. In May 2017, evidence of the earliest known life on land may have been found in 3.48-billion-year-old geyserite and other related mineral deposits uncovered in the Pilbara craton. Because the only mountain-building since has been of the Stirling Range with the rifting from Antarctica, the land is eroded and ancient, with no part of the state above 1,245 metres AHD. Most of the state is a low plateau with an average elevation of about 400 metres low relief, no surface runoff.
This descends sharply to the coastal plains, in some cases forming a sharp escarpment. The extreme age of the landscape has meant that the soils are remarkably infertile and laterised. Soils derived from granitic bedrock contain an order of magnitude less available phosphorus and only half as much nitrogen as soils in comparable climates in other continents. Soils derived from extensive sandplains or ironstone are less fertile, nearly devoid of soluble phosphate and deficient in zinc, copper and sometimes potassium and calcium; the infertility of most of the soils has required heavy application by farmers of fertilizers. These have resulted in damage to bacterial populations; the grazing and use of hoofed mammals and heavy machinery through the years have resulted in compaction of soils and great damage to the fragile soils. Large-scale land clearing for agriculture has damaged habitats for native fauna; as a result, the South West region of the state has a higher concentration of rare, threatened or endangered flora and fauna than many areas of Australia, making it one of the world's biodiversity "hot spots".
Large areas of the state's wheatbelt region have problems with dryland salinity and the loss of fresh water. The southwest coastal area has a Mediterranean climate, it was heavily forested, including large stands of karri, one of the tallest trees in the world. This agricultural region is one of the nine most bio-diverse terrestrial habitats, with a higher proportion of endemic species than most other equivalent regions. Thanks to the offshore Leeuwin Current, the area is one of the top six regions for marine biodiversity and contains the most southerly coral reefs in the world. Average annual rainfall varies from 300 millimetres at the edge of the Wheatbelt region to 1,400 millimetres in the wettest areas near Northcliffe, but from November to March, evaporation exceeds rainfall, it is very dry. Plants are adapted to this as well as the extreme poverty of all soils; the central two-thirds of the state is sparsely inhabited. The only significant economic activity is mining. Annual rainfall averages less than 300 millimetres, most of which occurs in sporadic torrential falls related to cyclone events in summer.
An exception to this is
Indigenous music of Australia
Australian Aboriginal and Torres Straight Islander music includes the music of Aboriginal Australians and social and ceremonial observances of these people, down through the millennia of their individual and collective histories to the present day, has existed for 40,000 years. The traditional forms include many aspects of performance and musical instrumentation which are unique to particular regions or Indigenous Australian groups; the culture of the Torres Strait Islanders is related to that of adjacent parts of New Guinea and so their music is related. Music is a vital part of Indigenous Australians' cultural maintenance. In addition to these Indigenous traditions and musical heritage since the 18th-century European colonisation of Australia began Indigenous Australian musicians and performers have adopted and interpreted many of the imported Western musical styles informed by and in combination with traditional instruments and sensibilities. Non-Indigenous artists and performers have adapted and sampled Indigenous Australian styles and instruments in their works.
Contemporary musical styles such as rock and roll, country and reggae have all featured a variety of notable Indigenous Australian performers. A didgeridoo is a type of musical instrument that, according to western musicological classification, falls into the category of aerophone, it is one of the oldest instruments to date. It consists without finger holes, through which the player blows, it is sometimes fitted with a mouthpiece of beeswax. Didgeridoos are traditionally made of eucalyptus, but contemporary materials such as PVC piping are used. In traditional situations it is played only by men as an accompaniment to ceremonial or recreational singing, or, much more as a solo instrument. Skilled players use the technique of circular breathing to achieve a continuous sound, employ techniques for inducing multiple harmonic resonances. Although traditionally the instrument was not widespread around the country - it was only used by Aboriginal groups in the most northerly areas - today it is considered the national instrument of the Australian Aborigines and is world-renowned as a unique and iconic instrument.
Famous players include Djalu Gurruwiwi, Mark Atkins, William Barton, David Hudson, Joe Geia and Shane Underwood as well as white virtuoso Charlie McMahon. A clapstick is a type of musical instrument that, according to western musicological classification, falls into the category of percussion. Unlike drumsticks, which are used to strike a drum, clapsticks are intended for striking one stick on another, people as well, they are of oval shape with paintings of snakes, lizards and more. Used as a hand-held free reed instrument. An example is the "Coo-ee" call seen in the opening credits of hit television series Skippy Instrument like the drone of a whistling Top, except the whole instrument is spun around on a length of rope. Used to herd prey from the bush and in ceremonial ritual. Bunggul is a style of music that originated around the Mann River in central Arnhem Land, Northern Territory; this style is known for its intense lyrics stories of epic journeys, which continue or repeat, after the music has stopped.
A particular clan in Aboriginal culture may share songs, known variously as emeba, manikay or different terms in other Aboriginal languages. These songs are about clan or family history and are updated to take into account popular films and music and social relationships. Songlines — called Yiri in the Warlpiri language, other terms — relate to the Dreamtime, using oral lore and storytelling manifested as an intricate series of song cycles that identify landmarks and tracking mechanisms for navigation; these songs describe how the features of the land were created and named during the Dreamtime. By singing the songs in the appropriate order, Indigenous Australians could navigate vast distances travelling through the deserts of Australia's interior, they relate the holder or the keeper of the song or Dreamtime story with an inherent obligation and reciprocity with the land. Kun-borrk originated around the Adelaide and Rose Rivers, distinguished by a didgeridoo introduction followed by percussion and vocals.
These include words, in contrast to many other syllabic styles of Aboriginal singing. Wangga originated near the South Alligator River. An high note starts the song, accompanied by rhythmic percussion, followed by a sudden shift to a low tone. Wangga is performed by one or two singers with clapsticks and one didgeridoo player; the occasion is a circumcision ceremony or a ceremony to purify a dead person's belongings with smoke. Early visitors and settlers published a number of transcriptions of traditional Aboriginal music. A number of Indigenous Australians have achieved mainstream prominence, such as Jimmy Little, Yothu Yindi, Troy Cassar-Daley, NoKTuRNL and the Warumpi Band. Indigenous music has gained broad exposure through the world music movement and in particular the WOMADelaide festivals. Geoffrey Gurrumul Yunupingu of Yothu Yindi, attained international success singing contemporary music in English and in the language of the Yolngu. Successful Torres Strait Islander musicians include Seaman Dan.
Contemporary Indigenous music continues the earlier traditions and represents a fusion with contemporary mainstream styles of music, such as rock and coun
Australian heavy metal
Australian heavy metal music has its roots in both the Australian hard rock and pub rock tradition of the 1970s and the American and British heavy metal scenes. Since the mid-1980s, Australian heavy metal has been influenced by foreign bands Swedish death metal, American thrash metal and black metal from Norway. Within Australia heavy metal has always remained part of the underground but since the mid-1990s many Australian metal acts have found widespread acceptance in overseas markets in Europe. AC/DC is cited as being Australia's foremost hard rock band. AC/DC's influence on metal is quite clear however, with a style built around a predominately loud, heavy riffing guitar sound. With regard to heavy metal, Sydney band Buffalo could well be considered one of the country's first exponents of the style. Formed under the name Head in 1967, Buffalo began playing a similar style to that of Black Sabbath from 1970; the band was the first non-British act to be signed to Vertigo and released three albums with them between 1972 and 1975 but never found mainstream success in Australia.
The group's bass guitarist Peter Wells formed Rose Tattoo in 1976, another band cited as laying a cornerstone for Australian metal. Like Buffalo, Rose Tattoo's music was ignored by Australian radio while building a strong cult following internationally. Conversely, The Angels always courted commercial success in Australia while finding progress tougher overseas; the Angels were closer to metal than Rose Tattoo, with the albums Night Attack, Watch The Red and Two Minute Warning harbouring a distinctly heavy metal sound, yet while all three charted none of their singles reached higher than No. 21. The Angels were referred to as a heavy metal band in Australia however, in the modern context would not now be considered one. Without support from radio airplay well-established foreign metal bands found little success on the Australian singles charts until the last half of the 1980s. Albums those of Iron Maiden charted however, Iron Maiden and Twisted Sister were two of the few foreign metal bands to conduct Australian tours in the first half of that decade.
In spite of this, metal music had a large underground following, with small independent retailers like Sydney's Utopia Import Records catering for the audience. Utopia was established in 1978 by record collector John Cotter who began trading metal and punk albums that were not given release in Australia and by the early 1980s was the country's best known retailer of heavy metal music. Inspired by the new wave of British heavy metal, a small raft of bands had begun to emerge that would form the foundations of the modern Australian heavy metal scene; some of the better known groups from this time included Taipan, Virgin Soldiers, Black Jack, Nothing Sacred, Rosanas Raiders, Almost Human, Egypt and Bengal Tigers. Bengal Tigers formed in Melbourne in 1979 and by 1982 had been signed to Mushroom Records, releasing an EP called Metal Fetish, although neither this release nor two singles met with much success; the band released another EP in 1995, entitled Pain Clinic, an album in 1997, called In the Blood.
Saracen was a Perth band that had formed in 1980. When guitarist John Meyer joined Rose Tattoo in 1983, Saracen replaced him with Jamie Page and changed its name to Trilogy, releasing two albums. Axatak, who adopted a leather and hair look similar to the early LA glam metal scene and Taipan released albums or EPs but all of these were passed over by the mainstream Australian music scene. Human was an Adelaide band that formed in the late 1970s playing covers before introducing original material; as one of that city's most prominent heavy bands they supported touring groups like Whitesnake, Sweet and others and released a self-financed single. Guitarist Chris Tennant went on to achieve some success with The Superjesus during the 1990s and other members went on to play in bands like Heaven and BB Steal. Other bands were somewhat more successful. Boss had formed in Adelaide in 1979 and after moving to Sydney built up a following on the pub circuit signing to RCA Records for worldwide release in 1983.
The album was moderately successful in Europe and the group supported Iron Maiden, Twisted Sister and Dio but disbanded after a US tour, reforming a brief time under the name BB Steal, a band that still exists to the present time. In Melbourne, BlackJack forming in 1979 and hoisting their jolly roger flag, they released material that showcased a distinctive blend of NWOBHM classical and power metal with undertones of doom metal; the Melbourne heavy metal scene at this time was still underground, was supported by a handful of metal music shows on community radio stations 3PBS and 3RRR. Local announcers included Allan Thomas who hosted the Metal for Melbourne show on 3RRR for a number of years between the mid-1980s and 1990, was a prominent and controversial figure in the local metal scene. Heaven formed in Sydney out of an Adelaide band called Fat Lip in 1980 and became a second-tier attraction in the US on the strength of their second album and opening for the likes of Judas Priest, Kiss and Mötley Crüe before imploding in 1985.
Vice was a glam metal band from Brisbane who had formed in early 1984. They became one of the city