This was the first time that the ARIA Hall of Fame allowed ‘punters’ into the gallery to witness proceedings from above. A black-tie ant colony of music industry peeps mill around below me, kissing, shaking hands, clinking glasses and hopping into spare seats to catch up with friends and associates on adjacent tables. I feel like a beady-eyed vulture perched above, scanning for celebrity.
Is that one of the Barnes girls sitting with Molly? How far apart did they seat Gudinski and Chugg? Was that Chris Cheney? Tex Perkins?! Sadly, no. Kim Beazley? Surely not.
The night begins with little fanfare as we are advised of the program, the first of many annoying Vodafone ads is broadcast on the big screens and without ado The Living End are on stage absolutely ripping through a version of The Wild One that would have Johnny O’Keefe rocking and rolling in his grave. Brilliant opener.
Julia Zemiro appeared in a timeless, cinch-waisted black frock to remind us that not only were we celebrating 50 years of Australian Rock n’Roll but that the beautiful room we find ourselves in first saw Dame Nellie Melba sing in 1884. Not to mention ABBA, Sinatra and a performance from Thorpie and The Aztecs that allegedly smashed windows in Swanston Street.
Richard Wilkins was next to induct fellow country-men, Dragon: a touching illustration of two different entertainment paths taken by young Kiwis back in the day. Dragon’s induction marked the 10 year anniversary of singer Mark Hunter’s death and was especially poignant for his brother and bandmate, Todd, who accepted the award on the band’s behalf. The remaining members of Dragon were then joined on stage by James Reyne and Ian Moss for an emotionally charged April Sun In Cuba , with audio of Mark assisiting over the PA. The special lineup backed Mossy on Rain were amazing and left no doubt as to why they had been inducted.
So too Max Merritt. An impassioned, articulate and breath-defying speech from mate Glenn A Baker drew Max on stage, where he admitted that he still felt ‘unworthy’. A heartfelt reflection on the early days of Australian soul and rock ensued with a choked up Max tipping his hat to the late Billy Thorpe, who he alleges ‘stole my band, stole my gal and stole my heart.’ A thanks to Michael Chugg attracted cheeky banter from the Chugg corner and Kasey Chambers appeared on stage (with dad, Bill Chambers) for a gorgeous collaboration with Max on Slipping Away . Even John Laws is swaying in his seat, before he remembers himself.
*Midnight Oil’s Rob Hurst * proudly invited old mate Russell Morris to join him in the inner sanctum. A relaxed, cowboy shirt-clad Russell takes the stage sending his biggest thank you to his wife and kids. Ian ‘Molly’ Meldrum and Johnny Young get their credits for the massive song The Real Thing , as does Michael Gudinski for ‘giving me a second career.’
The always incredible Lior joined Russell on stage for a string-supported duet of Wings Of An Eagle, and although Russell looked in awe of his singing partners voice to begin with, his own voice floating in at the chorus was exceptional. A beautiful moment between two of Australia’s best male vocalists followed by a phenomenal airing of The Real Thing, which saw the band adopt a couple of boys from The Hands and The Whitlams to deliver a musical explosion that would have been so much better as the last song of the night.
After the powers that be are served their tuna and salmon steaks ARIA Chairman Ed St John reminded guests that there are envelopes for Support Act Ltd on every table. A charity which supports musicians who have fallen on hard times, Support Act Ltd is an important charity in the industry and Ed made no bones about the fact that he expected donations from everyone, ‘especially free ticket holders and multimillionaires – and there’s a few in the room.’
Debonair Col Joye was up next, inducting Richard John Sinclair Laws, his buddy ‘since 1957’. He was able to draw a different picture of the Lawsy I thought I knew. Col alleged that when first Lawsy muttered his trademark ‘Hullo world’ into the microphone, ‘the girls in the office went spare.’ Hinting of good times, wine, women and song, Col awarded a Lifetime Acheivement Award for Laws’ contribution to Australian broadcasting and specifically, his encouragement and promotion of Australian country music. Video messages from Keith Urban and John Williamson echoed this and John, despite feeling like ‘an imposter’ stated that Australia has ‘the best country music in the world, with the finest musicians.’
Nick Cave appeared via satellite to tell The Triffids, ‘Come on in, it’s great in here,’ but as well to apologise for Martyn Casey’s absence. The bass player was actually with Cave, in London working on some Grinderman shows but the rest of the band assembled, somewhat subdued, wondering if ‘the measure of [the late] Dave [McComb] and his influence is yet to be realised. The potential is great.’
The Triffids maintained their legacy, accompanied by Blackeyed Susans’ Rob Snarski before an emotional Steve Kilbey of The Church took on Wide Open Road , walking straight off stage at it’s close. Another stellar moment in a poignant and nostalgic night.
Last but not least was Rolf Harris , inducted by fellow ‘Sand Groper’ Kim Beazley . Yes, that Kim Beazley. An increasingly overwhelmed Rolf turned beetroot red against his white coif and beard as his moment came closer and by the time he had made it from his seat to the stand, cheered on by the rowdy tables singing ‘There’s only one Rolfy Harris!’ he was quite overwhelmed. Swallowing a decent sized sob he declared, ‘I never thought I’d be so moved.’ He swayed dangerously close to crying throughout his moving speech, but got a laugh when he recalled offering the band who played on the recording of Tie Me Kangaroo Down Sport the option of a flat fee or a ten per cent share in the single. They took the fee, the single went to Number One and the rest is history. Those band mates had to be ordered by Rolf to sing in their own Australian accents and when the supremely Australian single was successful, Rolf realised for the first time that you could be ‘unashamedly Australian and be a success,’ a revelation that raised a buoying cheer from the attended ARIA guests.
The night steered right away from rock and roll from here: Tim Friedman delivered a moving rendition of Rolf’s Two Little Boys , Rolf bought Jake The Peg out for a run.
The always wonderful Julia Zemiro kept our eyes of the stage, engaging in witty banter, alerting the guests to the presence of ‘punters’ in the balcony and advising the plebs upstairs of the nearest milkbar, should we be getting hungry watching the sumptuous dinners revolving downstairs.
The night was drawing to a close and The Seekers were trotted out to back up Rolf and the wobbleboard on Tie Me Kangaroo while the increasing tippsy guests slapped their thighs, clapped their hands and crooned across tables at each other.
Eventually, Rolf was reined in by a now-barefoot Julia, who thinks it’s high time we all got out of here and off to the party. Er, if you’re on the main floor that is. An amazingly emotional night, a treat to have a showcase of Australian groundbreakers put together, both in person and in the numerous video packages, for my viewing pleasure: even if I did feel as though I was watching Big Brother: The Industry Night version from a knot hole in the balcony.
Sure, if it had been a normal gig I would have swapped the first and the second ‘acts’ to let the night out with the fireworks of The Real Thing, but hey, it’s the Hall of Fame. You can’t argue with that.
