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Number 16 song on your birthday australia


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Ratcat signed to the new rooArt label under the auspices of Phonogram Records and marketed in Australia by the huge PolyGram organisation , a move which rocked the closely knit Sydney independent scene. This was home grown success writ large. The powerful weekend morning video shows, Video Smash Hits and Video Hits picked up the film clip and then, finally, with commercial radio airplay providing the last boost the EP leapt to 1 on the mainstream singles chart.

By April , Tingles was well on the way to selling an astonishing , copies.

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Produced by Nick Mainsbridge, Blind Love rose effortlessly to 1 on the national chart, having shipped 35, copies gold on the first day of release. The Tingles EP ended as the second biggest selling single on the Australian chart. Simon Day saw the signal go out to the corporations. If your birthday was drawn out of the barrel you were required to submit yourself to a two-year stint in the Australian army, perhaps to go and fight in Vietnam.

Australian music was experiencing a pop music boom, with Normie Rowe in particular scoring hit and hit record and creating riots wherever he appeared or performed. Normie made national headlines when, ala Elvis Presley, he was called up to serve his country. His call-up may have been an Australian government publicity ploy. Notching up over 14 million views, the band soon found themselves on prestigious US shows such as Jay Leno and Oprah. In other words, it was the moment when sampling as we know it today, began. Rather than creating sounds from wave data as synthesisers had previously been doing, the sounds for the Fairlight CMI were produced from an external audio source.

You could now record any sound you like, then reproduce that sound in any key on the keyboard. INXS were delivering funked up grooves and attracting mixed race audiences in America well before the Chili Peppers cottoned on to the formula. Indeed the effect on Kylie was significant, her world opened up.

She cropped and dyed her fluffy blonde locks and started wearing increasingly revealing and outrageous stage costumes offset by seductive moves. A band creates an anthem. To date every Australian idol winner has achieved the number one spot with their first single, and a total of over a million albums have been sold by artists appearing on the show.

With the release of this album, Slim became the only recording artist in music history not just Australia to have recorded albums with the same record label. It was the first time a release by a completely independent Australian artist on their own independent label had reached the top of the national charts. More than 35, people trekked to a farm owned by Mr George Duncan at Glencoe, just outside the township of Sunbury over the Australia Day long weekend to witness performances by The Aztecs, Chain, Friends, Glenn Cardier and many others.

These days Matthews runs a record company which specialises in re-releasing classic Australian music from the past. Why are they so legendary? The Aztecs legend began before Sunbury. The fan base had already started. We were incredibly loud and just got louder and louder. So a lot of the people at Sunbury were already fans, it just that you had 35, of them in one spot.

But also it was the volume. We were certainly the loudest Australian band anyway. The Aztecs were just this loud party band that played rock and roll. There was no fancy stuff going on, just wore jeans and t-shirts and I think people just loved that. Sunbury was quite special because it was three days and we played twice.

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Once during the day, the Saturday then at night on Sunday. I guess by the Saturday we realised the band was fairly important. Do you think the Sunbury festival had a tangible effect on the local music industry? I think Sunbury was that point in time where everyone went along, not really knowing what to expect but they had a great time.

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There was just something about it. It was such a new experience for most people. There had been the Ourimbah festival prior, but that was small time compared to Sunbury. Thirty five thousand people for 3 days during Australia Day weekend. There was lots of heat, dust. There were kids and dogs and tents. Did the band stay at the festival site? No we stayed at travel lodge.

They had caravans at the back of the site as dressing rooms. Was there a sense of camaraderie with the other bands at Sunbury? There was but … The Aztecs … were not so much a hard working band but we worked a lot. We played 4 or 5 gigs every week.

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Re-releasing a lot of this material I am hearing some of these bands for the first time. Why was it so important to him? I think because he was so new at playing guitar and playing guitar with lots of volume allows you to sort of fluff it without anyone knowing! You can play things and make a few bum notes but you can cover it up with the feedback and noise. It was our little niche, no one else was doing it. One guy at Sunbury curled up in one. How do you do that? Even Billy would be arrested on stage every second night. The crowd would go berserk.

Bands were dressed nicely in shirts and ties and the record companies would tell you what to wear etc. We are going to wear what we like, play what we want, no record company is going to tell us what to do. It featured international artists such as Mary Hopkin, Tom Paxton and Edison Lighthouse and drew almost 30, people, yet has received little publicity.

The weekly magazine was not only responsible for keeping the nation up to date with the latest rock music news, but also featured our first national record chart. Go-Set is also notable for giving a start to rock guru Molly Meldrum, who worked as reporter for the magazine. Juke was the longest running of the acclaimed rock mags running from until In fact, the idea was so simple that anyone could have done it.

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In fact the emotion obviously ran so deep, that the band has reformed and is back with a new album. Sadly this time without their dear departed drummer Paul Hester. This was to be no copycat commercial yawn fest for mum and dads. Triple J quickly established itself as an important and influential cog in the the local music industry machinery. Within the next 6 months the band exploded and Beatlemania was rife.

American promoters were now offering 50 thousand pounds per show, but the deal had already been done and in June the Beatles were in Australia. At the concerts, the band was barely audible above the hysterical cries from the audience. Every band wanted to be the Beatles, and every teen wanted to be in a band. You were all still in your teens and at school. How did you cope with all the success? It was a time when we were naive and a little oblivious to a lot of those things.

We were having a lot of fun and still doing school. But back then, it was exciting.

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I think we were more entertained by having video games and stuff than the fame. I remember when we toured with Red Hot Chilli Peppers for a couple tours. At one of the last shows, they organised some strippers to come up onstage which was pretty funny. You have stated in the past that one of your biggest career highlights was playing to , at Rock In Rio in ? That was amazing. It is kind of hard to fathom. How do you look back on the time when Daniel got sick around the release of Diorama, because that was quite a significant moment for the band? It was a pretty full on time.

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It was taking him 20 minutes just to get up and walk from the lounge room to go to the toilet. He was in a lot of pain and a horrible state. I think taking that time off was a pretty good thing as all three of us went off and did some different things. It gave us a chance to just to step outside of Silverchair for a little awhile.

And coming back to do this record, felt like we were all bringing something different back from our different experiences. Yeah, Dan was tossing up the idea of doing a solo record during our extended break. We never had the album in the pipe line until, kind of, when we got together to do Wave Aid. We were on such a buzz afterwards that it was silly for us not to do another record as Silverchair.

We had come so far as a band that it would have been a shame to just put it on the backburner. So we got inspired and got busy. Dan did a lot of song writing during our time off, so in the process his writing got better and better and especially with this album where it does a lot of genre hop-ing. Dan really made a pretty conscious effort in the whole structure and the way the album was going to flow.

The challengers said in July they had found proof that the song belongs in the public domain, making it available for anyone to use, for any purpose, at no cost. They say a songbook containing the song predates the song's copyright. Suing is just the most recent reaction to the song's licensing fee. In the past, advertisers, writers, and even chain restaurants have devised clever ways to skirt the copyright. They have included just the beginning or the end of the song, played For He's A Jolly Good Fellow instead, or crafted a completely different birthday song.

And over the last few years, they've developed a new tactic - joke about how they can't sing the song because the licensing fees are too expensive. According to the Internet Movie Database, Happy Birthday To You has been played in nearly movies, but hundreds more contain birthday scenes that skip the song altogether. Paul Greco, has been working as a music producer in the advertising industry since and now works at the agency J Walter Thompson New York.

He says in all his years in the industry, he hasn't once licensed the song, nor could he think of any notable ads that had used it. Ideas involving children's birthday parties would often be tossed because of the licensing fee, Greco says, or his team would create its own music or pick a song that was in the public domain. The song is probably heard in movies and on television more because the licensing fee is cheaper, he says, since the aim is not to help a brand sell its product.

Another common place you won't hear the song is during birthday celebrations at chain restaurants. Some chains have written their own birthday songs to avoid paying licensing fees, according to Brauneis. With the emergence of the sound chip card in the s, greeting card companies also came up with creative alternatives to using Happy Birthday To You.

David Ellis Dickerson, who worked at Hallmark as a greeting card writer and editor from to , said the profit margin on cards was already so small that paying the licensing fee to use the song in every single card was out of the question. But in recent years writers have begun to make fun of the fact that they can't include the song because of the licensing fee.

In a episode of the NBC sitcom 30 Rock, the show's crew throws a birthday party when the song's copyright comes up. They only manage to get out "Happy" before they're cut off by the entrance of another character, who spares 30 Rock from paying the fee.