Johnny Tillotson

Bob Hayden & Alan Jackson
2007

Johnny Tillotson made a quick stop over in Sydney recently and appeared in concerts in Canberra and Sydney before heading back to the states. He has toured Australia many times before, but this was a trip that should have been longer, but time did not allow. This article takes a look at Johnny Tillotson from the early days of his career and reviews two of the recent Australian concerts.

Johnny Tillotson was born in April 1938 in Jacksonville, Florida USA, and then the family moved to Palataka in 1947. He showed an interest in country music, quickly becoming a good guitarist and singer, but like many others was changed after he saw Elvis Presley perform with the Hank Snow All Star Jamboree in May 1955. He considers Elvis Presley the best performer he has ever seen Johnny performed a three year stint on the “Toby Dowdy” show, but was then discovered and reached national prominence through the Nashville Pet Milk talent contest.

He was also working as a DJ for the country music radio station WWPF. An audition tape was sent by Lee Rosenberg to the Cadence record label, and Johnny Tillotson was signed to Cadence in 1958. His first release for Cadence was “Well I’m your man”, a modest rocker backed with “Dreamy eyes”, which would not be released as a single in Australia till 1962 where it entered the charts and reached position No 28 in Adelaide. In 1959 “Why do I love you so” fell somewhere between the eerie expressiveness of Presley’s “Blue moon” and the kind of R&B material done by Jimmy Clanton. The flip side was a cover version of the Johnny Ace song “Never let me go”.

Although this was released in Australia it did not chart, but did receive some air play in Melbourne and Sydney. Another single “True true happiness” backed with “Love is blind” followed shortly after and this, and surprisingly made the Adelaide charts with the highest position No 23. Johnny’s next single was released in early 1960, and was a cover of big hit for the late Johnny Ace titled “Pledging My Love” with the flip side “Earth Angel”, which was a huge hit for the Penguins a few years earlier. This song was another release that although got a little airplay never made it into the Australian top 40 charts.

1960 was the year Johnny’s biggest hit was released. “Poetry in motion” backed by a self penned song titled “Princess, Princess” turned out to be a great success.‘Poetry’ showed his gentle voice to perfection with the Nashville “A” team of musicians featuring Boots Randolph on sax. This song entered all the Australian charts, with Melbourne securing the top spot with position No 4. This single sold more than a million copies worldwide. By contrast, “Without you” released in 1961, was a grim ballad complete with spoken passage. This song was fully representative of the slow slide that had occurred in the late 50’s from joyous rock ‘n’ roll to refurbished Tin Pan Alley. The B side was a nice song titled “Cutie pie”. The A side managed to reach position No 23 in the Melbourne charts. “It keeps right on a hurtin’” released in 1962, was perhaps Johnny Tillotson’s finest composition and was delivered in a cool desolate manner with effective Nashville strings.

Elvis Presley recognized the quality of this song and recorded it for his 1969 comeback album “From Elvis in Memphis”. “It keeps right on a hurtin” has been recorded by more that 112 other artists in a wide variety of styles. It managed to reach No 5 in the Melbourne charts and gave Johnny another big seller all around Australia. Later in 1962, came a shuffling version of “Send me the pillow you dream on” coupled with a pop-country rendition of “What’ll I do”. This song managed to creep into the charts and reached position No 23 before it faded slowly out of the charts.

In Australia, he then had a strong hit with “Judy, Judy, Judy”, which was unusual because the other side “Out of my mind” was the hit in the USA, and in Australia that song was released prior to “Judy” as a separate single and charted in the mid twenties.Australia took a liking to “Judy, Judy, Judy” which stayed in the charts for many weeks and reached as high as No 4 in the Melbourne charts.. After the collapse of the Cadence record company, Johnny Tillotson joined the MGM label, and had success with “You can never stop me loving you”, which managed to climb to No 17 in the Melbourne charts. Not long after he scored another good seller with his version of “Talk back trembling lips’ on MGM which flew up the charts, in no time at all and reached a high No 5 on the Adelaide charts.

As the years passed Johnny Tillotson succeeded in modifying his image, and in 1966 he gave critically acclaimed performances in New York’s Copacabana night club. These appearances were followed by engagements in Las Vegas, and then in clubs from Pittsburg to Puerto Rico.

He was also very popular in Japan where many of his releases, recorded in Japanese, made the local best seller charts. In 1968, Johnny moved to California, studied acting and then appeared in minor roles in TV and movies. Those recordings for Cadence and MGM may be considered to be the highlight of his career.

But being a man of quality taste and broad musical understanding, Johnny Tillotson has the capacity to surprise his audiences. In this context Johnny Tillotson has been nominated for a Grammy in 1962 and 1965. been one of the Cadence labels biggest selling artists. released well over 60 singles and numerous albums worldwide. achieved top 40 chart success in most countries around the world. toured Australia, and many other countries numerous times to capacity houses.

His quick tour in 2007 certainly proved Johnny Tillotson’s ability to attract strong crowds to his shows. The shows at Canterbury Hurlstone Park RSL and Rooty Hill RSL during March were quite exceptional. At both shows the audiences were very close to capacity. Canterbury Hurlstone Park RSL attracted more than 400 people and Rooty Hill RSL close to 500. Both show featured the Allstars, Joan Mifsud and from the USA, Johnny Tillotson. For these shows the Allstars comprised Noel Tresider (keyboards/vocals), Len Mc Gill (drums/vocals), Graham Broomfield (tenor sax), David Rogerson (guitar/vocals) and Ian B Allen (bass/vocals). The show opened with the Allstars performing tracks from their latest internationally released album ‘Be our guest’, which also features Johnny Preston, Chan Romero, Lucky Starr, Betty Mc Quade, Rick Diamond and Joan Mifsud. These fine musicians rocked out ‘Baby that’s rock-n-roll’, ‘Whole lotta shaking’, ‘ABC boogie’, ‘Hey baby’, ‘Hard times’, ‘Paralysed’ and ‘Be my guest’. It was very clear from the audience reaction that the Allstars, although based in Melbourne, were very welcome in these Sydney clubs and could easily have extended their segment of the show.

After about twenty minutes the Allstars introduced the first lady of the sixties television show, the Go Show, Joan Mifsud to join them. Joan performed a selection of the classic rock songs recorded by female artists during the sixties. This performance included ‘Dum dum’, ‘Be my baby’, ‘That’s all you gotta do’, ‘Da do ron ron’, ‘Will you love me tomorrow’, ‘Stupid Cupid’, ‘These boots are made for walking’, ‘Locomotion’ and many others. Of particular interest was the audience reaction to John D Loudermilk’s ‘Sad movies’ and ‘These boots are made for walking’.

The audience sang along enjoying Joan’s performance very much. After a short interval the Allstars rocked in to the introduction to Johnny B Goode. The Allstars then dropped the volume and announced that the artist coming on stage had three worldwide number one hits, sold tens of millions of records, 14 top forty hits, two Grammy nominations and two BMI song writing awards. Then, immaculately attired in a magnificent purple coat, Johnny Tillotson entered the stage and with the Allstars picked up Johnny B Goode and kept it rocking. With his very pleasant manner Johnny Tillotson welcomed the audience and moved in to ‘Wonderful world’, the Sam Cooke classic. Then the audience was treated to a wide selection of Johnny Tillotson hits – ‘Heartaches by the number’, ‘Send me the pillow you dream on’, ‘It keeps right on a hurtin’, and ‘Talk back trembling lips’. And the audience reaction was sensational. They very much enjoyed Johnny Tillotson’s enduring stage presence and wanted more, much more. Johnny Tillotson mentioned how Buddy Holly was the subject of a photographic project when Tillotson was studying at university.

The project achieved top marks as did Johnny Tillotson’s performances of ‘Oh boy’ and ‘Maybe baby’. He followed this with the Bob Seeger tune ‘Old time rock-n-roll’. Then the audience was introduced to the first hit song written by Johnny. He moved from the stage and wandered amongst the audience presenting a beautiful rendition of ‘Dreamy eyes’ and ‘Earth angel’. Then it was straight in to ‘You can never stop me loving you’. The audience loved it and were singing along to every song. He had them in the palm of his hand. Johnny Tillotson paid a very fine compliment to the Allstars for their most professional support for his show. Then it was in to ‘Without you’ and when he asked if there was anybody named Judy in the audience his request was met by the positive reaction of about twenty women and one jumped on to the stage to have the song performed to her by the international hit maker. With his very sensitive introduction about the way women move Johnny began ‘Poetry in motion’.

The sax of Graham Broomfield captured the Boots Randolph sound off the hit record and the audience knew every word as they sang this number one international hit with Johnny. Then after establishing that many in the audience had been married more than ten, twenty and some even thirty years Johnny sang the very tasteful ‘Then you can tell me good bye’. The subtle performance of this song by both Johnny Tillotson and the Allstars was exceptional. Earlier in the show Johnny mentioned how Elvis Presley called him to let him know that he had recorded ‘It keeps right on a hurtin’, which Johnny had written. Elvis mentioned he had changed some of the lyrics and Johnny responded that he would have been happy even if Elvis wanted to change the title. Then in appreciation of Elvis Presley he performed ‘His latest flame’, ‘All shook up’ and ‘Blue suede shoes’. This was followed by ‘Great balls of fire’. The venue was really moving along with Johnny Tillotson and the Allstars.

After taking a bow the audience reaction was such that an encore was mandatory. Johnny returned to the stage and presented a very warm and gentle rendition of ‘Can’t help falling in love’ Then to the music of ‘Poetry in motion’ the international hitmaker, Johnny Tillotson, took his final bow and gracefully left the stage. Many in the audience thronged to the table near the stage where Johnny was signing autographs, photographs, posters, CDs and DVDs. It took the best part of an hour for all people to be satisfied. For some people who had wanted to hear a particular song that was not in the show he sang it for them at the table without accompaniment.

This was quite moving to see and hear. Johnny Tillotson and the Allstars are a very formidable combination. These two shows were of a quality rarely seen these days and the large audiences at both clubs were extremely receptive to the show. The next time Johnny Tillotson performs near you make sure to be there, it is well worth the experience.

Special thanks to Steve Mander for assistance with the catalogue numbers and David McLean of Canetoad records for the chart positions.

Johnny Preston

RUNNING BEAR 2006 AUSTRALIA

Johnny Preston first came to Australia for the Lee Gordon “Big Show” in March of 1960, with such artists as Tommy Sands, Jerry Lee Lewis, Chan Romero, Marv Johnson, Mark Dinning, Jack Scott, Johnny and the Hurricanes, Freddy Cannon, Dick Caruso and Australia’s King of Rock and Roll Johnny O’Keefe.

For his first Australian tour since that time, Johnny Preston was supported by arguably Australia’s most professional 50’s rock and roll band THE ALLSTARS. For the Sydney leg of the tour Lucky “I’ve been Everywhere” Starr was added to the show.

Johnny Preston was booked for shows in Melbourne, Queensland (where he was the featured artist on the Wintersun Ball) and in New South Wales.

I went to see his show on the last night of his tour at the Rooty Hill RSL club where my wife Christine and I were “Special Guests” of the promoter and Johnny Preston himself.

Christine and I had been looking forward to this show for sometime and the long trip from Young was not to be a concern.

Invited to have a chat with Johnny Preston before the show was a big thrill for me. I had sent a list of questions to the promoter many weeks prior to him coming to Australia to make sure that they were the correct things to ask and that all would be ok for such a meeting. I should not have worried. From the time Ian Allen introduced me to Johnny Preston all my fears were gone.

Here was a guy that has had tremendous success all around the world treating Christine and I like he had known us all his life. It was right there and then that I decided that I did not need to tape an interview as all the answers Johnny gave me would be remembered forever.

I was a little amazed that he said that his first group “The Shades” never had any material put to tape for history let along for their own personal collection. His first recordings were what the Big Bopper had wanted him to record.

The most important thing for me to hear from Johnny was his liking for the Rhythm and Blues artists of that era. He as a young fellow really liked listening to all the R&B artists of the day and has a great memory to recall all the artists, groups and the songs they recorded as we chatted.

We discussed how his “Running Bear” became a big hit when all the DJ’s thought after a few weeks in the charts (and on the way down) that it was a bomb, and then all of a sudden, the Jukebox operators bought copies for their machines and the song raced way back up the charts and became the big hit of 1960. We also discussed the demise of the JUKEBOX and the big way it helped artists get their songs out to the public, besides the radio stations.

Continued success with songs like “Cradle of Love”, “Feel so Fine”, “Charming Billy”, “Hearts of Stone” and the continued sales of his extended play and long play albums made the early 60’s a very busy period.

Johnny toured all around the world in 1960, and looking at his concert tours, made one wonder where he had time to do recordings and keep the new songs coming out at a steady rate.

He was very supportive in our discussions about his late manager from those early days and said he was a true gentleman in all aspects, which was very unusual to hear. Most often the managers were not spoken of in such glowing terms. It was refreshing to hear Johnny talk about the late Mr W Hall with such honesty.

We had a nice talk about the “Big Bopper” and what we thought he would be doing if he were still with us to this very day! Johnny thought he would still be writing songs and I think he would probably be correct. I only wish he (The Bopper) had come to Australia, but that was not to be. I think he would have been sensational on stage, not only as a singer but also as an Emcee of all the rock and roll shows of the day!

I asked Johnny if he had seen Elvis in the early stages of his career, and he said, “YES” and related the story about what Colonel Tom Parker had said once in his company. “Sometime back I had a chance to become the manager of two fine young singers in their own right. But I had to make a choice, as I only wanted to manage one artist”. The two artists that he had to select from were “Tommy Sands” and “Elvis Presley”.

For some reason my mind told me to choose “Elvis Presley”, and look where we are today. Johnny said the “Colonel” was a real “wheeler and dealer” from way back, but his entire efforts were to make Elvis the biggest star he could and he did that in no small way. We left it at that, as we both knew the score the way the Colonel operated especially in regards the holy dollar(s)

The I asked him if he ever met “Buddy Holly”, and he said no, that was not to be, even though he was a good mate of the “Big Bopper” a meeting never eventuated.

We discussed many of the big names from that era and that he had toured with over the years, and what happened when “The Beatles” came to the states and his answer was “That was the end for all of us”, and it was the end for a very long time. They were great artists, but nearly every singer in the states was affected one way or the other by “The Beatles Invasion”. The majority of us never, ever recovered. Johnny went into selling Real Estate, as well as continuing his singing.

It was until the early 80’s that a resurgence in 50’s music finally got Johnny back on the road, touring all around the world again, like this visit to Australia after some 46 years.

But the most important thing to me we discussed was the “Bootleg” material that is coming out around the world for each and every artist. I mentioned international bootleg cds that were commonly available (and even showed him a few) and he was very concerned and rightly so. These bootlegs deprive all the artists of their royalties, but it was a big problem trying to solve this situation. He even bought a copy for himself when touring Europe some year’s back, but got no help from the seller, as to who was behind the issue. Isn’t that always the case!

In Johnny’s case it was even harder to talk about, as he owns all his music, and he mentioned on one hand the number of record company’s whom had been given permission to release his material on a legitimate cd.

Before my time ended, I asked if he would sign a couple of Australian items for me and then I showed him the “Running Bear 65” vinyl record released on local W&G label. He had not know that this was reissued with a different “B” side which was one of his favourite songs from that era. The song was “Dedicated to the one I Love”. This song was on the song listing for the show that evening.

By this time, Johnny was required to do a sound check. He was so nice and polite to Christine and I; it was a great moment to reflect on in years to come.

Christine and I stayed for the sound check and then, were totally surprised when Ian and Johnny asked if we would like to come to dinner with all the guys.

At this time I caught up with band members Mick Hamilton and Graham Bloomfield once again. These were the guys that we had for our rock and roll shows in Canberra in the 80’s when I was President of the ACT Rock and Roll Club. We had a great time together as we had become real good friends through the best music of the 50’s, and that was “Rock and Roll”.

Christine and I had never been to the Rooty Hill RSL, and the PR lady made us very welcome I have never seen so many poker machines on one floor in all my life. (I have not been to Vegas).

But to the show.

The ALLSTARS opened up the show to a capacity audience with Lucky Starr singing the opening song and then introducing all the members of the ALLSTARS to the audience.

Then each member of the ALLSTARS did a tune. They covered the songs, “Baby that was rock and Roll”, “Hey Baby”, “Hard Times”, “Will you love me Tomorrow” and “Be my Guest” which were a very nice selection of rock and roll songs that had the audience showing their appreciation of why this band has earnt the title of “Australia’s most authentic 50’s Rock and Roll Band”. The band members were as follows, Noel Tresider - keyboards and vocals, Len McGill – drums and vocals, Mick Hamilton - lead guitar and vocals, Graham Bloomfield – sax, and Ian B Allen – bass and vocals.

Lucky then rejoined the show to rock his way through some really enjoyable songs and continue the atmosphere created by the ALLSTARS.

Lucky sang songs like, “Sway”, “ABC Boogie”, “White Sport Coat”, “Runaround Sue”, “The Great Pretender”, “My Prayer”, “Ghost Riders in the Sky”, “From a Jack to a King”, “Its Now or Never”, and closed with “I’ve been Everywhere”.

People were still amazed that he could rattle those towns off without missing a beat, after all this time. Me, I was struggling to get a couple of towns names out, when he had finished his part of the show. He was warmly received by the very large crowd in attendance, and took the opportunity to do an additional encore. That was Lucky Starr.

Johnny Preston walked on stage to a very warm reception, and went straight into his song “I Feel Good” which had a very nice sax solo included. This song was originally recorded in early 1961.
This first song set the scene for a very pleasant evening of great music from the 50’s and early 60’s.

A cover version of Otis Williams and the Charms “Hearts of Stone” followed with Graham Bloomfield doing a superb sax solo. This song could not have been selected at a better time in the show to sing. The audience really like his version.

Then two beautiful songs followed “Free Me” a song that was written by one of my favourite black artists Jimmy Breedlove who was an original member of that great R&B group “The Cues”. His RCA Camden album has always been in my collection and this was a well-written song that suited Johnny perfectly.

Johnny spoke a little about his mate Johnny Burnett, before doing a nice version of “Dreamin” which has always been a favourite of Australian fans. I remember getting requests to play this on Canberra radio during the 80’s.

Then came a classic rock and roll song “Sweet Little Sixteen”, performed in a key that suited Johnny’s voice perfectly. The Allstars backing on this song gave it a great deal of beat and the crowd really enjoyed the song to the fullest. These musicians seem to “GEL” so easily it was evident for all to see that they were really enjoying the music they we playing for the capacity house.

Then after a little banter with the audience Johnny did a song that went down really well titled “Leave My Kitten Alone”, and who learnt to sing the “Mows” in the backdrop should keep doing it for a living! A number of people could not remember the song, but plenty of others did and got into the swing of things with quiet “Backing Vocals” around the auditorium.

The Johnny Mercer written song “Dream”, a nice slow ballad that was warmly greeted by all, followed this. Then Johnny spoke about the next song for a few seconds, stating that he had never performed it live on stage until he was asked to do so by the musical director of the show. The more he sang it the more he become to liking it. The song was “Just a Little Boy Blue”. I have always liked the song and could not understand why it had not been a bigger hit like other songs Johnny had success with over the years. On the radio rock and roll show I did for years with other friends this song was always requested. Johnny could not believe that as it was never requested stateside. The musical director’s choice was spot on as the crowd gave great applause as the song was coming to and ending. They enjoyed it, like I did. Ol’ Graham starred again with another nice sax solo during the song.

Johnny then went into his version of “Danny Boy”, which the audience liked, then spoke about another friend Lloyd Price and performed a superb version of his song “Stagger Lee”. The band once again “Gelled” with Johnny to have the audience really showing their appreciation for a song done in a very professional and authentic manner. Each musician did their job perfectly and the song plus the voice of a very seasoned performer came out in superb style. This was one artist that I missed talking to Johnny about, but I will remember that for the next time we meet.

Then onto his version of “You’ll never walk Alone” which I really enjoyed. Johnny told how it was a “miss” for him and a hit for “Gerry and the Pacemakers”, another of those English groups.

At the show the night before a lady came up to Johnny and mentioned that the next song Johnny was about to sing was released on the “B” side of his Australian W&G vinyl release “Running Bear 65”. The song was titled “Dedicated to the one I Love”. He asked from the stage if that lady was present tonight and a nice “Yes” came from the audience floor, so this version was for her. Johnny also stated that this was one of his favourite songs from that era. He did a very nice version of the big hit for “The Shirelles”.

Then the classics came rolling out, one after each other, starting with “Charming Billy” which also had a very nice sax solo included and the crowd really enjoyed this song. This song charted in Melbourne in November 1960, went to number 17, and stayed in the charts for 8 weeks.

“Feel So Fine” followed immediately after and the band was getting into the groove once again supporting Johnny to the maximum. This song charted in both Sydney and Melbourne. In Sydney it went to number 10 in late July 1960 and stayed for 10 weeks. In Melbourne it went to number 17 in July 1960 and stayed in the charts for 8 weeks.

Johnny described “Cradle of Love” in the introduction as the most perfect song he recorded during his long career. The crowd really enjoyed this great song and the band was once again in full swing. They were really enjoying playing for this superb artist. This song also entered the Sydney and Melbourne charts. In April 1960 it went to number 8 and stayed a total of 12 weeks in the Sydney charts. During the same month in Melbourne it entered the charts and climbed to number 5 during an 8-week stay.

Then we all thought came the final song, when the chants to “Running Bear” came through the speakers. What a crowd pleaser this song has been over the years. I remember the song being played by nearly very radio station in Tasmania for weeks on end with no let up. The crowd started to warm up as the more Johnny sang. For years in Australia “IN THE RAW” was the what the crowd sand as their part during the song, and this evening was no different. I wonder what Johnny thought when he heard those words come from the audience as he and the band really rocked the song along. This song raced into the charts and became number 1 in Sydney on the 8th of January 1960 (a great singer had a birthday on that day if I remember correctly) and stayed for a total of 18 weeks. In Melbourne it entered the charts in December 1959, went to number 2 and stayed for a period of 18 weeks also.

Most thought the show was over when Johnny, turned to the audience after wiping his forehead with his large(st) Texas hanky, and then spoke about his friend the “Big Bopper” and paid him the ultimate compliment for getting his career to where it was today. He sang a fantastic version of “Chantilly Lace” in tribute and the crowd applauded accordingly.

He was not finished as they say, and so did “Running Bear” again, spoke through the song and thanked everyone for coming to see him and the ALLSTARS and hoped they enjoyed the show.

After the show a large crowd lined up to have pictures and autographs taken with him and the band.
They talked about his first visit to Australia in 1960 and then a gentleman came up and showed him a picture taken at the Stadium in 1960. Johnny asked to show his wife the picture and then duly autographed it for him. The guys name was Ken Sutcliffe, and I had the pleasure to talk to him for a little while and saw all the other pictures from that show. Jerry Lee Lewis with “NO SHIRT” on, Chan Romero etc etc.

After nearly all the people had left the auditorium, Christine and I thanked Ian and especially Johnny( he signed me ticket for me) for inviting us to part of a very special evening. We really enjoyed the show and would like to see him appear again in Australia in the near future.

It is not often that one gets the chance to meet and talk to a person, that takes each day as it comes, has no “tickets” on himself and treats all people in a most friendly, polite and extremely warm manner. One could learn a lot from being around people like Johnny Preston.

The Barry Sisters

First printed in the “Big Beat of the Fifties”
For
The Australian Rock and Roll Appreciation Society
Issue 66

At the First vintage Rock Awards held in Sydney earlier this year(19900, I once again had the pleasure of meeting the “Barry Sisters” – Dorothy Davidson and Lorna Whiteside. These two charming ladies were only too pleased to share their memories of the early Australian rock’n’roll scene with me.

Childhood friends, Dorothy and Lorna were both deeply interested in music, particularly country music. In the early 1950’s they discovered their voices blended very well and both had a good ear for harmony.

In 1954, they submitted a demo to ARC (now CBS) records, which was housed in the old 2UE building in Sydney. They got an immediate response, being asked to record (with guitar only accompaniment) for ARC’s country label, Rodeo. Sales were encouraging so they recorded several more 78’s, firstly for Rodeo and then with bill Walker’s quartet for ARC’s pop label, Pacific.

Both ladies were very nervous, as rehearsal and recording all happened on the same day. There was no room for mistakes as they were recorded directly onto a 78rpm master disc. “It was like doing a live performance without an audience” remembers Lorna.

Between recording sessions the Barry Sisters performed at various nightclubs on the Sydney harbour “Showboat”, and held a six month residency at a teenage nightclub(name escapes them). Dot and Lorna also had a regular radio spot with Bill Walker on 2KY, plus a weekly radio show on 2SM. They were kept busy to say the least! A two week engagement at Brisbane’s Theatre Royal lasted three months – after which the “Sisters” took a well earned break.

1959 saw the Barry Sisters back at work. They appeared on a series of ABC radio shows which led to the legendary ABC TC show, “Six O’clock Rock”. This introduction to rock’n’roll became the highlight of their careers; they were caught up in a whirlwind of endless performances for the next few years. For the ten to twelve artists performing on Six O’clock Rock, the day began with rehearsals in an old church in Forbes Street. Then all the artists would dash over to Channel 2, grab a sandwich, throw on their outfits – all this between camera rehearsals – to be on air by 6.00pm. If you managed to look cool, calm and collected after that, you’d earned a regular spot ! Dot and Lorna appeared regularly until the demise of Six O’clock Rock.

In the meantime, Brian (I’m the news) Henderson booked the duo for his TV show “Bandstand”. As part of the bandstand “family’, they were backed by either the Joy boys, (Johnny Rebb’s) Rebels, Don Burrows or Bob Young’s Orchestra. They also appeared on TCN9’s Bobby Limb show (backed by the Isador Goodman Orchestra). For Channel 7, the Barry Sisters appeared on Teentime, Roy Hampton’s Rhythm Roundup, plus various shows including Digby Wolfe’s “Review 61”. They were still heavily booked on ABC radio shows, including Johnny O’Keefe’s “Rockville Junction”, which had a live audience (“that screamed a lot”) remembers Lorna, a Hawaiian show with Johnny Wade, mainstream for Moderns with Don Burrows, and a travelling factory show with Jim Gussy’s Orchestra. They were also heavily booked on the Sydney club circuit.

Dorothy remembers “ that one day we were to record a jingle. We didn’t have time to get together beforehand, so we met outside the studio where Lorna taught me the jingle just before we went into the studio. “It was hectic times that’s for sure!”. They didn’t even have time for a nervous breakdown (it happened later though), because they also squeezed a couple of recording for the Pye label, including “No Hesitation” with the Allen Brothers which made the charts.

Dorothy and Lorna felt they had fulfilled their ambitions as a duet at this stage so they split up. Dorothy has remained in the business making a name for herself as a soloist, whilst Lorna has turned to her long-time love – song writing. In the early 1980’s, for old time sake, the Barry Sisters recorded a single for the Arika label. “Detour” was coupled with “I’ve had more highs than lows” which Lorna wrote especially for Dorothy.

In 1988, the duo was honoured to be invited to Tamworth to leave their handprints in the “Hands of Fame”.

1989 saw Dorothy play a major role in the internationally successful movie “There’s a love that waits”. She also appeared in “A Country Practice”.

Both ladies still see a lot of each other, living only 3kms apart and often talk about the exciting early days of Australian Rock’n’roll.

I hope you enjoyed reading about one of Australia’s most popular female duos.

To both Lorna and Dorothy, thank you for the memories.

Copyright 2008
Bob Hayden

Update 2008

In early 2008, I was contacted by Lorna (through the ARRAS) in regards an article on the “Barry Sisters” on the Wikipedia website. So concerned was she that she asked if my “TRUE” story could be added to the net as much of the Wikipedia article was poorly researched and incorrect in so many ways..

So I asked the ARRAS to assist and try and have the article removed or recorrected by the writer or better still have the writer of that article contact me thru the ARRAS, and we can go throug all the information and come to a compromise to have that article corrected asp.




Further update

In my recent chats with Lorna on the phone and by mail , it has been bought to my attention that the Barry Sisters were requested by Johnny O’Keefe to appear on the first show of “Sing Sing Sing”, but sadly they could not and recommended the “Taylor Sisters”.

Very quickly the Taylor Sisters contacted Lorna and asked her to write a rock and roll song for them. Lorna wrote a song and sent them a demo. The song was titled “How long can a girl Pretend”.

It could not have come at a better time as Lorna had just signed a contract with EMI.
They all got together with Milton Saunders (who was the musical director for S-S-S) to talk about the arrangement. Milton said “We will put a new sound to this, and we will use the band from S-S-S”. The song went very well for the Taylor Sisters.

Bob Hayden 2008

Beverley Dick

AUSTRALIAN ROCK-N-ROLLER

Beverley Dick was born in early 1940 in the MelbourneCarlton. As was relatively common with children born in that era Beverley was taught tap dancing. Her first musical performances were on a Sunday morning at the South Melbourne based Rainbow club, which combined people who shared the objective of raising money for deprived children. On Sunday nights at the Rainbow Club there was a social dance with a talent quest. Beverley’s father sang at the Rainbow Club and took her along to dance and sing.


The Early Days

When Beverley was sixteen she appeared, with Helen Larsen on 3UZ Radio Auditions. Both Beverley and Helen were members of the local church basketball team. Soon after the radio 3UZ appearance Beverley performed on the Australian Amateur Hour as a solo artist. This national talent quest had the winner of each state final perform competitively for the National title. Beverley represented Victoria. The winner was Joe Timbery, a young aboriginal boy.

Whilst singing in the local church choir Beverley met Betty Phillips as well as Nancy and Dorothy Tate. With Betty, Nancy and Dorothy, Beverley performed on Christie’s Radio Auditions. As a result of this appearance George Rivett invited the girls to join his concert party. Other members of the concert party included Henri Bource (later of the Thunderbirds and the Allstars), Alan Pope (later of the Planets), John Cosgrove (later of the Sapphires, the Fendermen and the Truetones), and John’s sister Pam.

During a holiday at a country farm at Katandra, Beverley and a family friend Jessie Teague sang at the Dookie Hotel. Beverley was also playing guitar. After a performance Neville Pellett of radio station 3SR Shepparton asked Beverley to record some of the songs he heard the night before at the Dookie Hotel. At radio station 3SR Beverley recorded the Slim Whitman hit “Love Song Of The Waterfall”. At this time Whitman’s material strongly influenced Beverley’s performances. To get an appropriate echo for recording Beverley’s voice the microphone was mounted on an extended stand so that it was located close to the ceiling.


The Trailblazers

Neville Pellett suggested that when Beverley returned to Melbourne from holidays in Shepparton she contact Bill Earle, who co-ordinated the Trailblazers on radio 3XY Melbourne.

The Trailblazers, a group of artists and musicians with a strong country and western leaning, rehearsed for their weekly 3XY radio show at the Erskine Hall Carlton, and later at the Albion Hall Brunswick. Amongst the members of the Trailblazers were Alan Hawking, Jack Johnson, Tom Heaney, Stan Green, George Xanthos, Charlie Boland, Russell Hawking, George Mack, Elsie Darling and Jack Quinn. The Trailblazers performed over three hundred weekly radio shows for radio 3XY. These shows were broadcast throughout Australia and on WSM Nashville, USA. After the Trailblazers had recorded their weekly radio show it was common for a small group of them including Jack Johnson, Norma Johnson, Stan Green, the Hawking Brothers, Beverley Dick and Jack Quinn to adjourn to Nando’s Spaghetti Bar, Carlton where they would entertain their friends and Nando’s customers without accepting payment. However, they were provided free food and drinks.

Probably the largest audience to witness a Trailblazers performance was at an early Moomba Festival in Melbourne when more than 10,000 people enjoyed their unique style of country and western music. With the Trailblazers Beverley also performed at the Healesville Shire Hall and the Collingwood Town Hall. An unusual aspect of the Trailblazers’ musical style was their adamant refusal to have drums in the group. The percussive drum sound was achieved by threading paper between the guitar strings over the hole in the guitar. The strumming chords would then have a choofing sound.

During 1956 the Trailblazers recorded an album for Planet Records (Planet PP015). The cover art of this record shows the Trailblazers performing on the stage of the State Theatre Flinders Street Melbourne. This was a posed publicity shot. In addition to performing as part of the group on this album, Beverley sang “Love Song of the Waterfall” as a solo. This track features Beverley’s distinctive yodel.

The first rock-n-roll group in Melbourne was the Henri Bource Allstars. Many groups, such as the Planets and the Thunderbirds, followed. Early in 1957 Beverley was approached by Henri Bource to sing on a rock-n-roll album that the Henri Bource Allstars were recording for Planet records, (Planet PP016). On this album, “Rock-n-Roll Party”, Beverley sang many rock-n-roll standards including “Tutti Frutti”, “R-O-C-K”, “Be Bop A Lula”, “Razzle Dazzle”, “Teddy Bear” and “We’re Gonna Teach You to Rock”. It is understood that the “Rock-n-Roll Party” album, which was recorded at the old eastern Market (now the Southern Cross Hotel) in Exhibition Street, Melbourne, was the first coloured rock and roll album cover to be released in Australia.

Beverley’s appearances with the Trailblazers continued until their 3XY radio shows ceased. However, there was a period of overlap when the association with the Planets commenced. This occurred during 1958 when the Trailblazers and the Planets auditioned to perform at a rock-n-roll dance at the Maison de Luxe, Glenhuntly Road Elwood. Lindsay Owens promoted this dance.


Enter The Planets

With Betty Phillips, Beverley came from Healesville to sing at the audition. On their arrival Beverley was most surprised to hear drums being played with what she thought was the Trailblazers. Beverley thought they must have hired a drummer for the audition because the music required was rock-n-roll. When she entered the hall the group performing were the Planets, comprising Ben E Joyner (guitar). Barry Greenwood (guitar), Graeme Howie (piano), and Brian Anderson (drums). This line up did not include a bassist.

Beverley was so impressed with the Planets that she asked Barry Greenwood and Brian Anderson to augment the Trailblazers during their performance. As it turned out neither group was hired.

At the Maison de Luxe audition one of the Planets’ featured vocalists, Johnny Edwards, asked Beverley to join the group. The following Friday, Beverley Dick appeared with the Planets at the Ormond RSL. During 1958 as the Planets featured female vocalist, Beverley performed at venues that included the Burwood RSL, Ormond RSL and Glen Iris RSL.

The main influences on Beverley’s performance and choice of material were, Elvis Presley, Buddy Holly, Ricky Nelson, Janis Martin, Gene Vincent, Carl Perkins and Johnny O’Keefe.

During 1959 Beverley Dick and the Planets, together with the Planets’ other featured artists, Johnny Edwards, Billy Dodds, and Ron Patrick regularly performed at Earl’s Court St. Kilda, Heidelberg Hall Ivanhoe, and the Soldiers Hall Moonee Ponds. These venues were amongst the most popular pioneering rock-n-roll dances in Melbourne.

It was during 1959 that Beverley toured with Johnny O’Keefe, the Delltones, the Dee Jay’s, Malcolm Arthur and Lonnie Lee. The tour, which took place during late September and early October, was Johnny O’Keefe’s first interstate tour and went to country centres including Ballarat, Warrnambool and Geelong.

A Warrnambool newspaper that reviewed the show commented that: -

“…According to the star of the show Johnny O’Keefe, Beverley is

an outstanding artist and the only girl rock-n-roller worthy of a

mention in Melbourne”.

An observer from the Geelong Press summarised Beverley’s performance as follows: -

“…She had such a soft little voice when announcing her numbers

but, brother, when she started to shout (sorry sing) I was intrigued

by the change in her”.

Following the tour with Johnny O’Keefe, Beverley suggested that the existing vocalists working with the Planets form a vocal group. The Planetones, as the group was known, comprised, Johnny Edwards, Ron Patrick, Billy Dodds and Beverley Dick. Often the group wore white cardigans emblazed with a red “P” or black cardigans with a white “P”.


The Planetones

With Beverley Dick and the Planetones, also the Planets they recorded an extended play single for AWA. The tracks were “Express Eleven”, an instrumental, “Lipstick On Your Collar”, featuring Beverley Dick and “Only A Fool”, a song performed by Johnny Edwards and the Planetones.


The Split

During 1959 the demands of the Planet’s manager, radio 3XY disc jockey Jon Royce, caused a split amongst the group and the vocalists. Royce wanted the vocalists and musicians to become full time entertainers. Amongst those not prepared to take what they considered a risky venture was Beverley Dick. Because of the differing views two groups were formed. The groups were Barry and the Planets and the Big Beat Band.

Beverley performed with the Big Beat Band, which comprised the musicians and artists who turned down the Royce proposal to become full-time entertainers. With this group Beverley Dick frequently appeared at radio 3DB and radio 3UZ lunch time concerts at, Heidelberg Hall Ivanhoe, the Progress Hall Brunswick, Earl’s Court St. Kilda, Richmond Town Hall, the Olympic Hall Heidelberg, Brighton Town Hall and the Ormond RSL. Crowds of up to six hundred people were common at the Ivanhoe, Heidelberg and Ormond dances.

In July 1960 the Big Beat Band with Beverley Dick and Neil Andrews, together with the Planets, were supporting artists for a Johnny Devlin concert at Festival Hall. Then, in August the same year, Beverley Dick, Neil Andrews and the Big Beat Band featured with Lonnie Lee, Lucky Starr, Judy Cannon, the La Ronde Brothers, Billy Owens, Malcolm Arthur, Colin Cook, the Thunderbirds, the Sapphires and Brian Penglaze and the Hi-Marks at a Festival Hall concert.


Together Again

Towards the end of 1960 the Big Beat Band and the Planets merged into one group known again as the Planets. Beverley Dick was their featured female vocalist. Barry Greenwood remained under the management of Jon Royce.

During March 1961 Beverley Dick and the Planets commenced at the Hy -Way Klub, a dance conducted by the Moorabbin Youth Club. Within twelve weeks of opening crowds of about 600 were attending the dance. Amongst the numerous guest artists that appeared at this venue, were the Bee Gees, Johnny Chester, Merv Benton, Colin Cook and the Strangers. Beverley Dick and the Planets featured at every Hy-Way Klub dance.

The advent of 60/40 dancing in Melbourne during 1961 resulted in Beverley Dick and the Planets performing a mix of rock-n-roll and ballroom dancing. With the Planets, Beverley commenced working for Ivan Dayman at his 60/40 venues, which included Canterbury Ballroom and the Circle Ballroom, Preston. Both of the ballrooms were converted from movie theatres.

In addition to regular performances at the 60/40 venues, Beverley Dick and the Planets played one-night stands throughout south-eastern Australia at Ballarat, Bendigo, Camperdown, Terang, Wonthaggi and at Fitzroy and Moorabbin Town Halls. With the Planets, Beverley continued to appear at the Hi-Way Klub until it closed during July 1963.

In 1965 Beverley sang at a Moomba Melbourne Town Hall concert, Reservoir Hotel, and Kensington Town Hall. In May 1965 the Planets and Beverley Dick ceased working for Ivan Dayman and commenced regular appearances for Hal Kennedy at Leggett’s Palladium Prahran, the Orama Ballroom Footscray and Broadmeadows Town Hall.

With the impending birth of her daughter, Kym, Beverley Dick retired from the entertainment scene in 1965.


The Eighties

However, in the early 80’s there was renewed interest in the music from the fifties and sixties. This public interest was the catalyst for Ian Allen to reform the Planets. Beverley Dick was the obvious choice as a featured vocalist with the group. At the rehearsal Beverley ran through songs including “Da Do Ron Ron”, “Lipstick On Your Collar”, “Rocky Road Blues” and “It Doesn’t Matter Anymore”.

After only one rehearsal Beverley Dick and the Planets appeared at the Kew City Hall on 24th February 1984. This was their first appearance together for nineteen years. During the event Beverley performed the songs she had run through at rehearsal as well as “This Little Girl’s Gone Rocking”, “Lover Please”, “My Boy Elvis”, “One More Year To Go” and “Raining In My Heart”. Even though the show was an outstanding success, and the promoter then planned to do further shows, this Elvis Presley Fan Club of Victoria event, bought to a close the entertainment career of Beverley Dick.


Final Appearance - 1984

Throughout her career Beverley Dick was conscious of performing material with which the audiences could really relate. Although her recording work was not extensive, it was significant that Beverley was the featured female vocalist on probably the first rock-n-roll album recorded in Australia. Beverley’s capacity as a vocalist was highlighted by the ease with which she made the transition during her career from Country and Western to Rock–n-Roll and then to music suitable for ballroom dancing. She was probably the first to professionally make such a transition.

It would be exciting if a meeting between the two most interesting female rockabilly singers Beverley Dick and Janis Martin from the USA could be organised. Beverley was the first person to have Janis Martin’s recording of “My Boy Elvis”USA by one of her navy friends. Beverley Dick recorded the song with the Trailblazers. Some efforts have been made to bring Janis Martin to Australia to perform but, so far, have not been successful.


This article was published in the American Music Magazine #101 Sept. 2004

Welcome to Wild In The Country

Welcome to the first post of my blog.
I have started with the very first Australian rock and roll female singer Beverley Dick.
In due course you will read about Elvis Presley, Patsy Cline and many more artists from Australia and around the world.