Believe it or not, Australia’s surf-music super group The Atlantics has just released a new album of all-new original songs. Jim, Martin & Bosco – even Peter Hood can be heard on the closing track. What makes this release truly remarkable is that it’s 60 years since The Atlantics first topped the charts with “Bombora” – Australia’s true surf music anthem. All the magic is there. Check out the video for “Surfing The Wedge” – and find the album at www.theatlantics.com
It was 1961 and two boys from Maroubra Bay High in Sydney are talking after school.
One is Peter Hood, the drummer in a new band called The Atlantics.
The other, Jim Skiathitis, is an up and coming guitarist who sings songs like Sweet Sixteen at parties.
They chat for a while, until Hood suddenly asks a question that sounds more like ultimatum. Could Skiathitis learn barre chords on his electric guitar? And if he does he can then join the band.
Telling the story this week 60 years on, as The Atlantics release their latest album, Still Making Waves, Jim Skiathitis laughs at the memory: “I said I could, of course … in fact, it took me a couple of weeks to do it and it wasn’t easy.”
But did they immediately have the sound we now associate with The Atlantics — of echo-drenched guitar making fans think they were surfing, with perfect waves breaking on an endless beach? Well, not quite, Skiathitis says.
“As we got better instruments — like our Fender guitars and amps — we did. At first, we covered songs by bands like The Shadows from Britain. But then we started writing songs. Peter Hood and I had this affinity for writing songs together.”
Better still, the crowds that turned up to see them liked what they wrote.
“It was exciting, we had our share of screaming girls, we were a powerful band, no pussy-footing,” Skiathitis says. “We were loud and different to other bands. We were more forceful.”
Australia’s first global rock act
Playing live and playing in the studio to make a record are two very different things. CBS, though, were confident the band could make the transition and gave them a contract.
Skiathitis can still remember what it was like going into the studios for the first time. “Scary,” he says, laughing loudly. “For young guys, being in the studio was exciting but there was pressure. You had to play live and record it and mistakes were a big no-no.”
Their first single was well received — well enough for the record company to allow them to record a second single. Their choice of song was crucial the second time around. That song was Bombora, a surging surf instrumental.
“We virtually lived at the beach. Peter [Hood] did surf and we all lived at the beach,” Skiathitis recalls. “As we heard the American bands the sound just evolved.”
Taking its subject matter from the growing surf craze and its title Bombora from the Indigenous word for a submerged rock that sits out of the line-up, making waves break in bigger surf, it immediately grabbed producer Sven Libaek’s attention.
The track quickly established itself in the top 40 then kept going all the way to number one. It stayed there for eight weeks. Then, in a move that stunned the band and the record company, audiences overseas heard and it and loved it. In response it was released in Japan, the Netherlands, the United Kingdom and New Zealand. It even charted in Italy. Suddenly The Atlantics were Australia’s first international rock act.
Today, Bombora is considered one of the top five surf guitar tracks ever.
“We were a different sound,” Skiathitis says. “The American bands used reverb units, we had echo units. It’s very different sounding. We had a stronger sound than many bands.”
When everything changed
The Atlantics were different in another way, too. Not surprisingly given their Greek and European backgrounds, their compositions had a different feel. Fans and critics felt they heard the sound of the bouzouki in Skiathitis’s playing and the feel of eastern Europe in his compositions with Peter Hood.
“I think it was just in-built,” he says. “I think everything I wrote had the sound of the East, with those minor chords. It was in our upbringing. Perhaps not all of the songs but quite a few.”
There was, however, a drawback to being migrants in Australia during the 60s. “We got a lot of the old ‘wog’ thing, it was rampant in those days,” Skiathitis says. “We were all Europeans, of course, and we weren’t everyone’s cup of tea or flavour.”
Their next song, The Crusher, did nearly as well as Bombora. Their fourth single, called War of the Worlds, was an attempt at a sci-fi opera. It was a bold move, taking them out of the surf, and not all the fans liked it.
But then came The Beatles with their voices, inventive songs, different chord structures and three-part harmonies. The impact on potential audiences was profound.
“When the Beatles arrived, everything changed … we discovered we could sing. It was easier to adapt to what people wanted and we ended up a covers band,” Skiathitis says.
The evolution of the ’60s could have been The Atlantics’ death knell. It wasn’t. The band morphed and in a masterstroke engaged a singer called Johnny Rebb. He could sing up a storm and Peter Hood delivered the perfect song for him, called Come On.
The track delivered an impassioned vocal that encapsulated the sound of lust and longing that 55 years on, stills sends shivers up and down your spine.
As Skiathitis recalls, it didn’t sell big at the time but as the years rolled by, Come On became one of rock music’s greatest “garage” tracks, played by other artists and included in the ground-breaking Down Under Nuggets Collection.
The Atlantics – Come On (1967)
A twist of fate, an unexpected revival
As the ’60s became the ’70s, music changed again. Singer-songwriters were all the rage and “glam” rock was just around the corner, along with disco. In 1971 The Atlantics stopped playing and recording. Band members found other things to do and, except for a brief re-union in 1987, that’s the way things stayed until the late 1990s.
Enter guitarist Martin Cilia. An accomplished musician, he had grown tired of current musical trends like techno and dance music. Instead he decided to make a guitar-centred solo album based on the kind of music he liked. What he needed was a bass player and, in a curious twist of fate, the man he had in mind was Bosco Bosanac, formerly of The Atlantics.
“I went into his record store at Annandale and said, ‘I’m going to make this album, would you like to play bass on a few tracks?’ I then gave him a cassette,” Cilia says.
A few days later he had his reply. Bosanac said he didn’t want to play on Cilia’s recording but could he play live — would he be interested in joining The Atlantics? “I said, ‘Are you serious?'”
Cilia was interested but suggested they get together and see if the chemistry worked. “It was like we had been together forever,” he says. “The next thing you know we had made an album, called Flight of the Surf Guitar — that’s what brought the band back.
Jim Skiathitis says he, too, felt the energy and the rapport immediately — that Cilia had “rejuvenated” the band.
‘People were genuinely excited that we were still going’
The revival Martin Cilia inspired also happened to coincide with a revival of longboard surfing and a desire to go retro. Suddenly, The Atlantics had many of their old fans and a whole new bunch of supporters.
Bombora was played at the closing ceremony of the Sydney Olympics in 2000. Then, in 2006, when David Minear from Bombora Records and producer Kerryn Tolhurst wanted to record and film a concert in the Freshwater surf club to showcase the history of surf music, the first people they asked were The Atlantics.
https://www.youtube.com/embed/1_5sjidcACk?feature=oembedYOUTUBEThe Atlantics – Surfing the Wedge (2023)
Freshwater was the first place in Australia where a surf board was ridden and the country’s greatest surf band didn’t let him down, with a searing version of Bombora that became the centrepiece of the concert.
Suddenly, people were listening not just here but across the globe. “I was shocked at how we were known in different countries,” Skiathitis says. “People were genuinely excited that we were still going.”
The band’s latest release, on January 26, includes only one track with original drummer Peter Hood, who sadly passed away in 2021. Still, the album doesn’t stray too far from the sound they pioneered. The first track is called Surfing the Wedge, in reference to a break at Newport Beach in California. If you close your eyes you can sense the sun, the pounding surf and the smell of salt on the air.
“It was great fun,” Skiathitis says of his 60-year ride. “There were things we didn’t do when we should have and, regretfully, there were some casualties along the way. But I’m just really pleased that we left an impression on the world.”
Original link: https://www.abc.net.au/news/2023-01-26/australian-surf-rock-band-the-atlantics-are-still-making-waves/101891212
Posted 03/10/2016 by Damian Fanelli
I spent the good part of 10 years as the guitarist (and chief songwriter) in an instrumental surf-rock band.
We played for very little money … drove for hours looking for gig parking onManhattan’s Lower East Side … had people scream at us to turn down the freakin’ reverb …
As Slacktone’s Dave Wronski asked in a GuitarWorld.com column a few years ago, will surf guitar be the last electric-guitar genre to earn some long-overdue respect?
Sure, Pulp Fiction elevated surf guitar from under the seaweed to a spot on the party-song playlists of hipsters around the universe.
But what is surf guitar? How does it differ from other styles of guitar playing? What equipment is used to get the sound?
“Fender-style guitars with single-coil pickups have typically been the weapon of choice, while vibrato bars are used to help express the rolling of the surf,” Wronski wrote.
“Sometimes the vibrato bar is used very smoothly; sometimes it is shaken to the point of breaking off–enough to make Ike Turner proud! (Check out his instrumentals from the early 1950s). Big, gnarly guitar strings that, when played loud and proud through a huge Fender amp, could shake the building, even when drenched in reverb from a tube-driven Fender Reverb unit. Even with all that reverb, there’s still enough bigness to the sound to do some major crowd control.”
A lot of you—most of you, in fact—have heard the usual batch of surf-rock instrumental classics from the early Sixties. Things like “Pipeline,” “Out of Limits,” “Wipe Out” and my favorite, “Penetration.” However, it’s probably safe to surmise that millions of you might know almost nothing about the modern brand of instro-surf rock that you’re likely to witness in a club in 2016. Or about the bands that play it.
Below, check out a guide to 10 surf-rock tunes—played by nine different bands or artists—that should be on your reverb-drenched radar. The good news is, most of these bands still exist! In fact, my band even performed with a lot of these guys back in the day. Ah yes, Slacktone at Asbury Lanes in New Jersey in ’06 … Insect Surfers at the Purple Orchid in El Segundo, California, in ’07. Ah, the memories.
P.S.: Dave Wronski, who is mentioned above, is the guitarist in Southern California’s Slacktone. You can check out two of their songs below.
CALHOUN SURF | Los Straitjackets
COFFIN CLOSER | Slacktone
THE BELLS OF ST. KAHUNA | Slacktone
SURF! SURF! SURF! | The Aqualads
FLIGHT OF THE SURF GUITAR | The Atlantics
FATHOMIZED | The Fathoms
GREASE YOUR HAIR AND GET TATTOOED | The Razorblades
NITRO | Dick Dale
VARYKINO SNOW | The Mermen
MOJAVE | Insect Surfers
Damian Fanelli is the online managing editor at Guitar World and Guitar Aficionado. His New York-based band, the Blue Meanies, has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band the Gas House Gorillas and New York City instrumental surf-rock band Mister Neutron, also composes and records film soundtracks. He writes GuitarWorld.com’s The Next Bend column, which is dedicated to B-bender guitars and guitarists. His latest liner notes can be found in Sony/Legacy’s Stevie Ray Vaughan: The Complete Epic Recordings Collection. Follow him on Facebook,Twitter and/or Instagram.
Original article: http://www.guitarworld.com/artists-artist-news-artist-lists/10-instrumental-surf-rock-songs-you-need-hear-now/28828
by Damien Murphy
“To you I shall put an end, then you’ll never hear surf music again.”
Jimi Hendrix’s lyric from his 1967 album Are You Experienced delivered an elegy to surf music that was well past its use by date.
But it refuses to lie down and die.
Even today, more than 50 years after they were hits Patricia Amphlett is asked to become her younger self, Little Pattie, and sing He’s My Blonde Headed Stompie Wompie Real Gone Surfer Boy and Stompin’ at Maroubra when performing at clubs or private functions.
“They were such innocent joys and its lovely to relive those innocent times,” she says.
Fourteen-year-old Amphlett sang Surfer Joe (“a truly dreadful song”) at a Maroubra Surf Life Saving Club talent quest, was spotted by a talent scout, signed up and had her first hit within weeks as surf music inundated teenage transistor radio programs.
Until the early 1960s, England set the benchmark for being young in Australia but as Baby Boomers hit puberty America stepped up to the plate, bestowing the gift of rock and roll and car idolatry to teenagers across the world.
The US also had a special present for Australia – surf culture. And it was Sydney’s beach suburbs that embraced California dreaming.
In 1961, the Beach Boys, Dick Dale, and the Chantelles started pumping out regional hits for the Los Angeles beach crew. Session guitarists like Jack Nitzsche and the arranger Henry Mancini took the music into mainstream USA – Mancini, who wrote Moon River, Peter Gunn and the Pink Panther Theme, had a hit with Banzai Pipeline that featured a big band sound laced with jazz accents.
But surf movies showing surfers riding waves in California and Hawaii had sound tracks that brought surf music ashore when the films played the northern beaches, the eastern suburbs and the Shire.
A group, The Denvermen, released Surfside in January 1963 and reached No 1 on the Sydney Top 40. In a nod to the tribal wars, a curtain raiser to the Cronulla riots five decade later, Digger Revell joined the Denvermen to record the deathless My Little Rocker’s Turned Surfie.
Other acts, including the Delltones and the Joy Boys, that had been performing a pale imitation of rock and roll switched to surf sounds. Long before the Bee Gees hit big, Barry Gibb wrote Surfer Boy for television songbird Noeleen Batley. And a New Zealander, Johnny Devlin, jumped on the bandwagon but became lost at sea with his hit, Stomp The Tumbarumba.
The high point came in mid-1963 when the Atlantics released Bombora and it too topped the charts in September. An Indigenous word for a wave breaking on an off shore reef, Bombora was a driving, pounding, much emulated sound that encapsulated a moment in Australian pop music and has continued to have a life of its own.
Although the band disbanded in 1969, their song is such a part of Australian life that they played at the 2000 Sydney Olympics closing ceremony and when the ABC’s 2001 documentary on Australian rock and roll Long Way to the Top breathed new life into their music, they toured Europe.
“It was weird,” guitarist Jim Skiathitis says. “They even knew our music in Hungary.” The Atlantics hung up their instruments a couple of years back. “The spirit was willing, but the fingers were weak,” said septuagenarian Skiathitis.
The first surf music boom of the 1960s was ended by the Beatles but musicians recalibrated and when the next surf music fad landed, it was dressed in drugs and hipness.
The 1972 album that went with Albert Falzon’s surf movie Morning of the Earth featured a grab bag of musicians who either changed styles like underwear (Brian Cadd), were caught in some Woody Guthrie time warp (John J Francis), smoked too much dope (Taman Shud) or were slightly strangers in strange land (G. Wayne Thomas).
Whatever, MOTE went on to become Australia’s biggest-selling surf music album.
Richard Clapton and Midnight Oil, GANGajang , the Celibate Rifles and the Cruel Sea kept the surf music flag flying but their surf sound were heavily surrounded by other music.
Then came The Break. The perfect surf band, comprised of former members of Midnight Oil, Violent Femmes and now Hunters & Collectors, it arrived in 2010 and play that old surf beat, laced with reverb-heavy instrumental rock replete with high-pitched notes that can drill a listener to exhaustion: just ask the journalist George Negus who nodded off during the band’s debut at the Annandale Hotel.
The Break will play at the Groundswell Music Festival, Gippsland Victoria on January 2, proof that surf music can still be heard.
Footnote: Dick Dale has dismissed the belief that Hendrix had administered the last rites to surf music telling Surfer magazine in May 2010 that the guitar god had heard the surf guitar king had rectal cancer and had three months to live. “Jimi said, You’ll never hear surf music again. And then he said, I bet that’s a big lie. Let’s pack up, boys, and go home’.”
Ivan Pongracic (The Madeira) interviewed The Atlantics for Double Crown Records’ Continental Magazine. The interview was conducted by email between January 2013 and March 2014 and is so lengthy that it was presented as two parts over two issues. The first part covered their early days from 62′ to 65′ (issue 21) and the second part covered what has become known as their Garage Days between 65′ to 70′. Also included is their come back, between 2000 to 2013. (issue22).
Here’s a sample of the interview from part 1 in issue 21.
Ivan: Jim, do you remember when you and Theo bought your first Strats?
Jim: I remember that it was Peter’s father that helped us buy the guitars under ‘hire-purchase’ with himself as guarantor. I think he also got Peter’s drums for him, too. He was always a stout supporter and motivator for the band as he was a drummer himself.
Peter: We bought our Strats in 1962. We bought the sunburst Strat first, and then the red Strat. In both cases, my father had to act as guarantor for the loans to buy the Strats. We paid 232 Pounds for each guitar – that was about AU$464.00 for each at that time [ed: roughly US$6000 today]. We put the Strats through a Fender Bandmaster amp. That was our sound at the time. We recorded “Bombora” and many of our earlier recordings using the Bandmaster amp and the Klemt Echolette for echo effects for the lead guitar. Both Theo and Jim used the Bandmaster for lead guitar. We bought the Fender Bandmaster at the same time we bought the Strats. We had no choice in the matter because Vox amps were not available at that time. The Echolettes we also bought in 1962. We had two of them. The Vox amps were bought later, probably 1964.
Jim: To the best of my memory, our Bandmaster only had one big speaker [ed: 12” tone-ring cab]. For a while it was the only amp we had, and both Theo and I played through it at the same time. Then we bought our first Vox amp, a piggyback AC-30, but it was really bassy. So we used the Fender for lead and the Vox for rhythm. Theo and I used to swap sides every time one of us had to play lead. Ahhh, the old days… lol!
Ivan: Are you saying that “Bombora” and those other early recordings were done with both Jim and Theo playing through the same amp?
Peter: Yes, that’s correct! They were both playing through the Bandmaster. I’m not sure which songs anymore, it’s been so long. I know this: “Moon Man”, “Dark Eyes”, “Bombora”, “Greensleeves”, “The Crusher” and “Hootenanny Stomp” were definitely recorded that way. I think the whole Bombora LP was recorded that way.
Ivan: How big of a deal was it to buy the Stratocasters and the Bandmaster? Fender instruments must have been very rare in Australia at that time.
Jim: Yes, they were, and it was a big deal. We had to order them from the States through a local shop here in Sydney, I think it was J Stanley Johnston’s. Of course, I ordered the Fiesta Red model. We were so excited when they called us and said the guitar had arrived, but that soon turned a bit sour when I discovered that they hadn’t sent a Fiesta Red but a Dakota Red. Still, it looked so mighty and new and exciting that I just kept it and used it – and still use it now. It is a 1961 pre-L Strat.
Get the magazines to read the full interview ……. www.doublecrownrecords.com
Bob Anthony, Sun Community Newspapers | 12:01am April 14, 2013
Cooly Rocks On is coming to Coolangatta and festival chairperson Gail O’Neill and CEO Bob Newman are revved up for the event.
BREAK out the boardies and wax up the malibu because Cooly Rocks On is hitting the beach in more ways than one this year.
The annual nostalgia festival at Coolangatta will incorporate a new “surf precinct” this year and to keep the crowds on their toes, Aussie surf band, The Atlantics, will be taking a trip down memory lane reviving music of the era.
The precinct, to be set up at the Gold Coast’s spiritual home of surfing – Kirra – will feature surfing memorabilia from the ’50s and ’60s, retro markets featuring surf wear and a range of classic surf vehicles such as Kombis, station wagons, panel vans and woodies.
Cooly Rocks On CEO Bob Newman said the action wouldn’t just be confined to the beach with an old malibu surfing competition. In July 1963, The Atlantics released their most famous track, Bombora, its name also derived from an unusual and widely unrecognised source – an Aboriginal term for large waves breaking over submerged rock shelves.
The Atlantics will play the Cooly Rocks On Kirra stage on Saturday and Sunday, June 8 and 9, along with a lineup of bands including The Shallows and Bridge and Brady.
Cooly Rocks On chairperson Gail O’Neill said this year shaped up to be the biggest festival yet with interest at an all-time high.
Ms O’Neill said the 1200 classic car and hotrod places had been filled with a strong demand for accommodation thanks to a big entertainment line-up.
“The festival is growing in strength and size each year and all we need is some fine weather and we will see all records broken this year,” she said.
Cooly Rocks On runs from May 31 to June 10. For details, go to www.coolyrockson.com
Read the original article: http://www.goldcoast.com.au/article/2013/04/14/450274_gold-coast-news.html
RareCollections: Australia surf music in the ’60s.
1963 was a big year for surf culture in Australia. David Kilby and Jordie Kilby speak to Tex Ihasz (Denvermen), Peter Hood (Atlantics) and songwriter Joe Halford about the music of that year.
Midget Farrelly was winning surf contests around the world and teenagers were flocking to the beaches to try the sport for themselves. While Dick Dale, The Beach Boys, The Chantays and The Surfaris were releasing classic singles like Pipeline, Wipeout and Surfin’ Safari in the U.S, a handful of local bands were developing a homegrown soundtrack for the action
The Denvermen – Surfside – HMV Records
The Denvermen formed in 1961 and quickly drew attention around Sydney for their distinctive and polished sound. The band had a family connection to a local music store and so had access to the latest equipment including an Echolette effects unit which quickly set them apart. In 1962 the New Zealand born pop star Johnny Devlin became their manager. Their first single was unsuccessful but their second, Surfside, with its sampled surf SFX throughout was picked up by local DJ’s and hit number one on the Sydney charts in January of 1963.
The Atlantics – Bombora – CBS Records
The band named themselves after a brand of petrol (rather than the ocean) several years before they began developing their surf sound. A bona fide classic, Bombora was their second single and it was produced by Sven Libaek who knew it was a hit the moment he heard it. Oddly enough for a surf track it was released jn the middle of winter 1963. Its success saw it released overseas in countries like Japan, England and South America. It was single of the week in Cashbox magazine upon its release in the U.S.
Stompin’ At Maroubra – Little Pattie – HMV Records
Songwriting team Joe Halford and Jay Justin came up with this hit for Little Pattie at the end of 1963. The Stomp was a dance craze popular at surf clubs and beaches around the country. Johnny Devlin, Jimmy Hannan and Tony Brady were just a few of the stars of the day who released stomp singles in late ’63 and into 1964. The other side of the single was the memorable He’s My Blonde Headed Stompie Wompie Surfer Boy. Pattie was only 14 when the record was released.
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Read the original article: http://www.abc.net.au/local/stories/2011/05/04/3207608.htm
Sunday Performer – The Atlantics (15/5/11)
15/05/2011 , 10:58 AM by june cowle
California may have had the Beach Boys and Jan and Dean, but back in the day when Surf Music was all the rage, Australia had the Atlantics.
Download the audio file
They split for several years but reformed back in 1999 thanks to guitarist Martin Cilia.
This month, the group released their latest album “The collectibles” a collection of their songs between 1966 and 2010, including a couple of rare recordings.
On Sunday Original Atlantic Drummer, Peter Hood and the boys spoke to Philip Clark about those early days.
Original article: http://blogs.abc.net.au/nsw/2011/05/sunday-performer-the-atlantics-15511.html
13 May 11 @ 04:24pm by Staff Writer
DID you know one of Australia’s surf rock classic songs, Bombora was written by Jim Skiathitis and Peter Hood (from The Atlantics ) in a house that Skiathitis lived in with his parents in Oberon St, Coogee in 1963?
The instrumental Bombora shot to number one for a record eight weeks in 1963 and charted around the world.
In 2000 Bombora was given the accolade of being used in the closing ceremony of the Sydney 2000 Olympic Games.
The band itself had decided to reform only a year earlier with a line-up featuring original members Skiathitis, Hood and Bosco Bosanac along with new guitarist Martin Cilia.
In a strange twist of fate they discovered Cilia lived just around the corner from Oberon St when he wrote The Atlantics comeback album Flight of the Surf Guitar.
The Atlantics journey has now come full circle with the band back in Coogee as part of the tour for the new release, The Collectibles, a memorable collection of songs between 1966 and 2010.
See them at Coogee Diggers on May 28. Bookings coogeediggers.com.au.
Read the original article.
The old wave – Boatshed sixties’ reunion
Music has long been synonymous with the surfing culture. But like the trends in surfing styles and the lifestyle surrounding it, music styles in the genre have also changed.
For next weekend’s first Festival of Surfing in Manly the evolving beast of surf culture will be revisited and celebrated.
Possibly the most broad representation of this is the three bands over three nights at the Old Manly Boatshed. They’ll be hanging from the rafters like the old days,” organiser Heritage Surf’s Chris Moss joked. The reason it’s at the Old Manly Boatshed is because it brings back together the guys who worked on the Delightful Rain project. So Delightful Rain does the Boatshed”.
It’s on for three nights in a row, beginning on Wednesday with the Celibate Rifles, The Atlantics on Thursday and Tamum Shud on Friday. The Atlantics are known internationally as a surf band, especially with their massive hit Bombora. In Sydney, it was number one for eight weeks in 1963.” guitarist Martin Cilia said. “Then after a couple of singles the disc jockeys who were playing our songs realised we were Australian and stopped playing our records. They thought we were American. They thought ‘we shouldn’t be playing them because they’re from here’.”
Cilia said he was looking forward to playing in Manly. He could not remember when the Atlantics had played here last but was adamant they had. We’ve noticed a resurgence in the great surf bands over the last four-or-five years.” he said. It’s a fresh sound to young people,. something new.” For the gig on Thursday, Cilia said he is expecting a cross-section of ages in the audience. “Certainly people from the 1960s, but also younger people coming along to check it all out,” he said.
Surfers, especially of the late 1960s-early 1970, will remember Tamum Shud for their inclusion in surf films of the era, such as Abe Falzon’s Morning of the Earth. The band, now based in Queensland, have not played in Sydney for “no one can remember how long”. Tamum Shud guitarist Tim Gaze said the band’s founder wrote music that really tapped into what the young people of the era wanted. Lindsey Bjerre knew how to write the kind of music pertinent to what was going on at the time,” Gaze said. “Some of the Shed stuff can get a little psychedelic.” Gaze said the four-piece was really looking forward to coming to Sydney to perform.
Written by: Rod Bennett
Picture: Simon Dean