Tuesday, 30 June 2015
Grain Of Sand / Fire And Brimstone / Friend Of The People / Before Hollywood / Sold Out / Stay / Massacre / Tomorrow / Some Things Never Change / Calling On You / Shipwreck
Iain Shedden (drums), Arturo 'Archie' Larizza (bass), Barrington Francis (guitar), Joe Chiofalo (organ) and Chris Bailey (guitar, vocals) recorded "Prodigal Son" in London and New York City and it was released in April 1988.
Puppet On A String/Rudie/Keep It Up/P.T./ I Will Return/All I Wanna Do/Don't Go/To Hot To Touch/No Mystery To Me/Hand Me Down
Joe Camilleri originally joined the Falcons of Wayne Burt and Jeff Burstin (both ex-Rock Granite) on guitars, John Power (from the Foreday Riders and Company Caine) on bass and former Daddy Cool drummer Gary Young - to record a version of 'Run Rudolph Run' as a Christmas single produced by Ross Wilson.Even by that stage Camilleri was a local veteran, having played with mid-60's R&B band the King Bees, then the Adderly Smith Blues Band (which allegedly sacked him for sounding too much like Mick Jagger), Lipp and the Double Dekker Brothers, The Sharks and The Pelaco Brothers (with Stephen Cummings).After recording the albums 'Don't Waste It' and 'Whip It Out', the mini-albums 'Loud and Clear' and 'So Young' (the title of which was covered by Elvis Costello) for Oz Records, the band - and its shifting cast of players - found themselves at Mushroom Records. By this stage Wayne Burt, one of the nations' great songwriters even then, had left - to be replaced by Tony Faehse (who had played in Alvin Stardust's band) - and the composing duties were thrown over to Camilleri and his colleagues. Soon afterwards, the ebullient Wilbur Wilde, who had been an integral member of Ol' 55, also joined the band.The label move also teamed Camilleri up with producer Peter Solley who oversaw the hit singles 'Hit & Run', 'Shape I'm In' and 'All I Wanna Do' and the albums 'Screaming Targets' (1979), 'Hats Off Step Lively' (1981) and the 'Dexterity' mini-album (1981). The band toured overseas and even got to play at the Montreux Jazz and Blues festival.But by this stage the sound of the band was changing and by 1982's sophisticated 'Cha' album and its hit single 'Taxi Mary' it was just Jo Jo Zep, minus the Falcons and plus Jane Clifton, Joe Creighton and others. Even a tour of America (which by all accounts was a disaster) failed to stop the eventual demise of the group. Ironically, Camilleri soon got back to his roots and went on to form the even more successful Black Sorrows. A brief national tour to support the 1984 compilation saw the Camilleri/Wilde/Burstin/Faehse/Power/Young line-up appear for the last time until that famed reunion in 2001 and the brand new album Ricochet!
Sunday, 14 June 2015
Bulldoggin' (Intro)/My Gal/Day In The Sun/Dance The Stars Away/Baby Get Out/Everyone Knows/Mary Jane/Miss September/Summer Skies/Friday Night Pick Up/Ruby Baby/Take Me To The River/Dead Skunk/Bulldoggin' (Outro)
The Bulldogs Allstar Goodtime Band was formed in late 1972 by a bunch of Victoria University students. Their instruments included kazoo, tea chest bass and washboard. Their first gig of any note was at the Ngaruawahia Music Festival in 1973, but it took their 1973 'New Faces' appearance, where they were finalists, to really kick off their career. With their ridiculous stage costumes, infectious humour, bouncy songs and Worboys' foghorn voice, they couldn't miss.
In November 1973 they scored two massive hits for EMI, "Miss September" and "Everybody Knows" reaching number 2 and 3 respectively on the national charts. An album, "Bulldoggin" was released in June 1974 but it failed to sell, as did subsequent singles "Baby Get Out" and "Day In The Sun".
Bursting onto the national scene as the NZBC’s Studio One New Faces winners of 1973, Bulldogs scored two top five hits, released an album, toured relentlessly, were awarded recording artist/group of the year at the RATA Awards and the group award at the NEBOA Entertainer Of The Year and even performed for and met the Queen. They had nothing more to prove.
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The Bulldogs story starts with singer Neil Worboys, who became interested in jug band music through his older brother, Brian, and had formed his own jug band, Stupid Cat Requiem, during his first year at Wellington Teachers College in 1970.
Worboys had learnt to play the harmonica while at high school and had access to the standard jug band fare available on Vanguard Records. He was a fan of Jim Kweskin & The Jug Band, The Nitty Gritty Dirt Band and Bonzo Dog Doo-Dah Band and could often be found scouring second-hand shops for old 45s and 78s.
At the end of 1971, having seen Stupid Cat Requiem at the Maranui Surf Club, drummer Brien McCrea, another trainee teacher, suggested to Worboys the two start their own jug band. McCrea had briefly been in The Leaders with guitarist John Donoghue but they split up when McCrea bought a surfboard with money the band had given him for a drum kit.
When McCrea ran into Donoghue in Cuba Street and told him of the fledgling jug band at the teachers college, Donoghue jumped on board.
Donoghue’s band Timberjack gained notoriety in New Zealand in 1971 when their cover of Black Widow’s ‘Come To The Sabbat’ was a finalist in the Loxene Golden Disc Awards. The film clip, featuring skulls, sacrifices and a nude girl, brought numerous complaints and eventual television and radio bans which resulted in Timberjack’s demise.
When McCrea ran into Donoghue in Cuba Street and told him of the fledgling jug band at the teachers college, Donoghue jumped on board as tenor banjo player. He soon brought along his bass-playing flatmate Paul Curtis, late of country rock band Farmyard whose ‘Learning ’Bout Living’, written by Curtis, had also been a Loxene Golden Disc finalist in 1971.
At the beginning of 1972, Neil Worboys met Kevin Findlater when he started at Wellington Teachers College. Findlater was a guitarist in rock band Horse, who had spent more than six months rehearsing a repertoire that ranged from The Kinks and The Rolling Stones to Jethro Tull and Uriah Heep. After hearing Worboys tear through some Joe Cocker songs, Findlater invited him to join.
A Kapiti Observer article of the time noted that new addition Worboys was “spreading his interests, and also singing with a jug band!” Besides Worboys (vocals) and Findlater (guitar), the rest of Horse were Tony Hooper (guitar), Peter Gapes (bass) and Danny Shaw (drums). After one rehearsal, one photo shoot and a gig supporting Taylor at the training college, they broke up.
Findlater and yet another teachers college trainee, Richard Egan, were then drafted in to the jug band, by now rehearsing in a prefab at the Karori campus. The original line-up featured four trainee teachers (Worboys, McCrea, Findlater and Egan) and two well-known Wellington musician/songwriters (Donoghue and Curtis).
Their early repertoire included songs from Worboys’ second-hand 45s and 78s, the odd vaudeville selection such as ‘Yes Sir, That’s My Baby’, some Frank Zappa and John Mayall and a few originals – one of which was ‘Miss September’, a song Donoghue had written for a previous band The Cheshire Katt.
They named themselves Bulldogs Allstar Goodtime Band after the bulldog insignia on McCrea’s washboard bicycle bell.
They named themselves Bulldogs Allstar Goodtime Band after the bulldog insignia on McCrea’s washboard bicycle bell – the “Allstar” was added for theatricality and “Goodtime” for the brand of music they performed – and started playing Wellington’s coffee bars, surf clubs, dances, pubs and parks. Midyear they were the support band for Australian pop star Russell Morris at a packed St James Theatre.
When John Donoghue and Paul Curtis departed for full-time band work in Auckland, Bulldogs acquired former Horse guitarist Tony Hooper to play tenor banjo and another trainee schoolteacher Brian Hayward to play tea-chest bass.
The band bought an old truck for $60 and organised a North Island tour playing university arts festivals and gigs in Napier and Wanganui as well as playing at Neil Worboys’ wedding. They appeared alongside BLERTA and even contacted the organisers of The Great Ngaruawahia Music Festival of January 1973 who said they couldn’t guarantee them a spot but they would try. Pitching their tent next door to Black Sabbath, Bulldogs were so well received they ended up going on twice.
With Worboys taking a teaching job in Nelson, Brien McCrea taking up a position in Wellington and Richard Egan being posted up north, Bulldogs Allstar Goodtime Band went into hiatus until the Easter long weekend when gigs were planned around Wellington, including The Western Park Tavern in Thorndon.
In the audience that night was former Hogsnort Rupert songwriter/guitarist Dave Luther. He had been tipped off by bluesman Midge Marsden, who had seen Bulldogs open for Russell Morris.
More comfortable behind the scenes than performing, Luther had set up his own production and management company, Mardi-Gras Music. Knowing full well the power of television exposure – Hogsnort Rupert’s ‘Pretty Girl’ was NZ’s highest-selling single of 1970 on the back of an appearance on Studio One – he encouraged Bulldogs to enter the show’s New Faces competition.
He booked time at Broadcasting House and the band recorded John Donoghue’s ‘Miss September’, with which they successfully auditioned for and then won their New Faces heat, scoring a national No.2 hit and gold record along the way.
They knew they needed a strong follow-up for the November final and Kevin Findlater thought he had something with the working title of ‘Downtown Night’. When he played it for Luther, the pair loved the verse but weren’t too keen on the chorus.
Luther had a song he’d carried around for a while where he didn’t like the verse, but the chorus lyric, “Everyone knows you’ve been such a good girl” was extremely catchy. They joined the two together and presented it to the band but realised it was lacking a bridge. “Well, I’ve got this refrain,” Tony Hooper piped up and the complete ‘Everyone Knows’ was born.
Having recorded the song, They fronted up to Studio One director Chris Bourn with a bicycle that sawed wood in time with the music.
Having recorded the song, they fronted up to Studio One director Chris Bourn with a bicycle that sawed wood in time with the music for the final choruses of ‘Everyone Knows’. Bourn loved the gimmick, the judges loved Bulldogs Allstar Goodtime Band and they were crowned New Faces winners ahead of a field that included an early version of Split Ends.
‘Everyone Knows’ peaked at No.3 and with Dave Luther now as manager, all but Brien McCrea threw in their day jobs and turned professional. McCrea was replaced by another of the Horse alumni Danny Shaw, who had been touring the provinces as drummer with 5th Movement.
1974 was a huge year for the band. They toured the North Island with Tiny Tim, performed for the Queen at the Royal Variety Charity Concert in Christchurch, toured with Kenny Rogers & The First Edition and English one-hit wonder Daniel Boone (‘Beautiful Sunday’) and released the album Bulldoggin.
In between there were tours under their own steam and with Shona Laing, Ebony and Steve Allen, sometimes playing up to three shows a day, including a secondary school, with the band doubling as their own roadies.
Brian Hayward returned to Wellington Teachers College and was briefly replaced by Bill Wood, who’d been part of The Hot Mumble Jug Band with Worboys in Nelson the previous year, before the return of John Donoghue on guitar, Kevin Findlater switching to bass.
Two more singles were released – the Tony Hooper-penned ‘Baby Get Out…!’ from Bulldoggin and Donoghue’s ‘Television Mama’ – and Bulldogs won RATA (Recorded Arts Talent Awards) and NEBOA (National Entertainment and Ballroom Operators Association) group awards before the inevitable talk of crossing the Tasman surfaced.
For Neil Worboys, the decision was easy. Married two years, he and his wife wanted to travel. The rest of the band agreed it was better to end it while they were all still friends than to face the grind of breaking themselves in Australia, so one last tour was undertaken, headlining a package that included The Yandall Sisters, Mark Williams, Rob Guest, Laurie Dee, Lew Pryme and Pizzazz, before going their separate ways in January 1975.
There was a reunion in name only in the early 1990s when Brien McCrea instigated recording tracks to raise funds for Ronald McDonald House Charities. A four-song Bulldogs Allstar Goodtime Band cassette was released as Upside Down World but the only Bulldogs involved were McCrea, Worboys and Findlater.
Neil Worboys (Vocals, Harmonica, Mandolin, Kazoo)
Tony Hooper (Vocals, Banjo, Acoustic Guitar, Electric Guitar)
Kevin Findlater (Vocals, Acoustic Guitar, Bass Guitar)
Brian Hayward (Bass Guitar, Tea Chest Bass)
Richard Egan (Vocals, Jug, Percussion)
Danny Shaw (Drums, Washboard)
Friday, 12 June 2015
Ready To Believe/Change/Argue/Rain/Concrete & Diesoline/Resurrection Shuffle/(It's Not A) Bad Life/Leave Me/She Is/Over You
The origins of Melbourne band Cattletruck lay in a one time St. Kilda bar band going by the name Caught In A Cattletruck. Paul Janovskis (vocals/guitar), Tony Dennis (bass), Charles Todd (saxophone), and James Martin (drums), started out playing a basic acoustic brand country-blues, born of their mutual affection for the roots music of Johnny Cash, Screamin’ Jay Hawkins, and pre-Army Elvis Presley. Having shortened their moniker to the more manageable Cattletruck, in early 1985 Janovskis and Dennis decided to do a Dylan and electrify their sound. Keyboardist Phil Viggiano and trumpet player Peter Knight were brought on board to both expand the line-up, and give them a bigger sound, whilst original sax player Todd was replaced by Nick Cross. Cattletruck recorded the single ‘Never Is’ and had it produced independently (a big call in those days). They gave away copies of ‘Never Is’ to fans who attended one of Cattletruck’s headliner gigs at the Prince of Wales Hotel, Melbourne, in December 1985.
Cattletruck’s lively, pulsating brand of rock and blues, soon had them filling support gigs for A-list Australian acts like Hoodoo Gurus, The Saints, Australian Crawl, Models and a number of high profile international acts, such as Los Lobos, The Violent Femmes and Lloyd Cole & The Commotions (see Oct post). With so much big venue exposure, and a growing repertoire of original numbers, Cattletruck were a natural to be signed to the respected Regular label.
By the time Cattletruck pulled into the studio in 1986 to record tracks for their debut album, the line-up on board was Janovskis, Dennis, Viggiano, Knight, Cross, and new drummer Bruce Coombs. The band’s first single hit the stores in October ‘86, but ‘Change’ only skirted around the lower reaches of the Australian chart (#81). The follow up single ‘Leave Me’ left the record store shelves at a reasonable enough rate to give Cattletruck their first top forty hit (#39) in May ‘87. English producer Dave Courtnay was flown over to produce Cattletruck’s debut album. Courtnay brought a degree of rock pedigree to the table, having a C.V. that included Paul McCartney, Eric Clapton and Three Dog Night. He basically let the lads in Cattletruck have their head to unleash their effervescent, vibrant brand of performance. Several tracks on the album also benefited from the sublime vocal harmonies of Vika and Linda Bull (The Black Sorrows). A mix of rock, pop, country, R&B, and traditional blues amalgamated to form the album ‘Ready To Believe’ (OZ#58). No doubt the diversity of music satisfied the interests of band members, but possibly proved to be a little too diverse for record buyers, making the album a tad difficult to categorise. The next single ‘Rain’ (OZ#56) didn’t exactly create a downpour of demand, but the band had their best offering laying in wait.
Cattletruck’s version of ‘Resurrection Shuffle’ was released in November ‘87, and within weeks was stampeding the national charts. The song was a cover of the 1971 hit by Ashton, Gardner & Dyke (US#40/UK#3/OZ#16). Whilst Cattletruck’s version (OZ#33) didn’t ascend to those heights, it was a kick arse, high energy take on a rock and roll classic. The surging brass backing, and driving rock beat, were perfectly matched to Paul Janovskis raucous vocals. Every time I hear the track it brings to mind something that current Australian punk rock powerhouse The Living End would take on.
‘Resurrection Shuffle’ proved to be the highpoint on the road for Cattletruck. The next two singles ‘Ready To Believe’ in March ‘88, and ‘(It’s Not Such A) Bad Life’ in June ‘88, both drove on past the charts without making a stop. At the end of 1988 vocalist/guitarist Paul Janovskis left Cattletruck, dealing a body blow to the band. They toured throughout 1989 with a new line-up, which added vocalist Gary Young, guitarist Scott Kingman, and saxophonist Steve Colebrook to the remaining members Tony Dennis, Peter Knight and Bruce Coombs. Over the course of the year the crowds dwindled and the venues became smaller. With little prospect of recording more material, Cattletruck pulled over to the side of the rock and roll highway, and its members duly disembarked for good.
Whilst Cattletruck was coming to a slow and steady stop, former front man Paul Janovskis had changed his name to Paul Dean, and formed a new band called Gas, with guitarist Brett Kingman (brother of Cattletruck’s new guitarist Scott Kingman). Kingman, of the Brett variety, was ex of Uncanny X-Men and the James Reyne Band, so there was no doubting his credentials. Completing the Gas line-up were the jazz-trained Tailby brothers, Greg (drums) and Rick (bass). They provided an effective jazz-swing rhythmic counter balance to Dean and Kingman’s hard rock drive out front.
Gas was connected at the Mushroom label, and issued their debut album ‘Burn So Bright’ in June 1990. The album spawned the title track and ‘Empty Dreams’ as singles, but none managed to light up the charts. The Tailby Brothers and Kingman all left in 1991 (Kingman went on to join Bigger Than Jesus), and were replaced by bassist Brett Goldsmith (ex-Chantoozies), guitarist Peter Dickson, and drummer Brett Luton (ex-Geisha - see previous post). But the new line-up didn’t settle, and before long Gas had evaporated into Australian rock history.
Thursday, 11 June 2015
I'm Not Like Everybody Else/Cops Are Coming/Butchy Boys/Vampire Love/Other Side/Wild Boys/Komputer Songg/Dr. Cairo/Rude To You/Wagga
“Jimmy and the Boys were an Australian New Wave band, active from 1975 to 1982, best known for their incredibly violent stage shows. The act revolved around vocalist Ignatius Jones and keyboard player Joylene Hairmouth - a couple of friends from Cranbrook and Riverview, exclusive private schools. Since 1976 the duo had been surrounded by various combinations of backing musicians, the constant guts and gore probably accounting for at least some of the member turnover. Their performance, their visual image, their on and offstage behaviour were all carefully designed to elicit the maximum level of shocked outrage from a public long since bored with the standard media fare of moral decadence. Sadomasochism, transvestitism, self-mutilation, drug abuse, inebriation, simulated sex and mock rape all took starring roles in Jimmy And The Boys’ blisteringly paced tribute to cultural degeneracy. The band was known for often causing audience riots in the more homophobic venues they played.”
I'd forgotten what a great album this is even though the themes of the songs are of bondage murder transvestites and sex changes this album just powers along with some really great rock songs The Cops are Coming ,Butchy Boys and Wild Boys. Another great track is Other Side written by co-written Kevin Borich and Todd Hunter amongst others.
Saturday, 6 June 2015
Gangster Of Love/Goodbye Baby/Mississippi/Truth
In 1969 Thorpe decided to try England, after being offered a recording deal by the Australian-born, London-based impresario Robert Stigwood, who had risen to become manager of The Bee Gees and Cream. While rehearsing a backing band in Melbourne that would form the basis for a new Aztecs, the guitarist unexpectedly dropped out, leaving Thorpe to assume lead guitar role at short notice. It marked another turning point in his career and from this point on Thorpe played lead guitar in The Aztecs as well as continuing as lead vocalist. His planned six-week stay in Melbourne soon stretched into months and eventually Thorpe decided to remain in Australia and re-launch his career.
Thorpe himself openly acknowledges that this new 'heavy' version of the Aztecs owes much to 'guitar hero' Lobby Loyde. Lloyde already had a cult following due to his stints in two of the most original Australian bands of the 1960s, The Purple Hearts and Wild Cherries. While his stint in the new Aztecs was short (from December 1968 to January 1971), his musical influence proved crucial in steering Thorpe in a completely new direction, and he strongly encouraged Thorpe to keep playing guitar.
The new Aztecs' blues-based heavy-rock repertoire was dramatically different in style from the original group, and they quickly became famous (or notorious) for the ear-splitting volume at which they played. Thorpe had also drastically changed his appearance—he grew a beard, often wore his now shoulder-length hair braided in a pigtail, and he had long since traded the tailored suits for jeans and t-shirts. Needless to say this did not endear him to people who came to the shows expecting the 'old' Billy Thorpe of the "Poison Ivy" era, and this led to sometimes violent confrontations with disgruntled fans and promoters.
Their breakthrough recording was an ambitious album, The Hoax Is Over, recorded in September 1970 with new drummer Kevin Murphy. The album was an unequivocal signal of the Aztecs' new direction, containing only four tracks, three of which were Thorpe originals. The LP is dominated by two extended tracks: a version of Johnny "Guitar" Watson's "Gangster Of Love", which clocked in at 24:35 and ran the entire length of Side 1 (an unprecedented move in Australian pop music) and Thorpe's own "Mississippi" which ran 19'35". According to Thorpe, the band (which at this time comprising himself, Murphy, pianist Warren Morgan, guitar legend Lobby Loyde and bassist Paul Wheeler), were all high on LSD and jammed continuously while engineer Ernie Rose just let the tapes roll. The result heralded the fully-fledged arrival of
Thursday, 4 June 2015
Dance To The Bop/School Days/Fools Like Me/Ah, Poor Little Baby/Rip It Up/This Little Boys Gonna Rockin'/Love Me/Bye Bye Baby Goodbye
Colin Frederick Jacobsen AM (born 13 April 1936 in Sydney), better known by his stage name Col Joye, is an Australian pioneer rock musician, popular entertainer and entrepreneur, (he has also recorded various other cross-over styles such as country music). Joye was the first Australian rock and roll singer to have a number one record Australia-wide and experienced a string of chart successes in the early Australian rock and roll scene.
Recording as a solo artist and with his backing band, The Joy Boys, which included his brothers Kevin and Keith, Joye enjoyed a string of hits on the local and national singles charts of Australia beginning in 1959. Joye's first single, "Stagger Lee" was a cover of the Lloyd Price US original however his third single "Bye Bye Baby", reached No.3 on the Australian Kent Music Report charts in 1959, followed by "Rockin Rollin Clementine" also peaking at No.3. His fifth single, "Oh Yeah Uh Huh", became his most successful, peaking at No.1. He also had other charting singles, including "Yes Sir That's My Baby" peaking at No.5 nationally. Joye was an original member of Brian Hendersons Bandstand television program, and appeared regularly on this show for fourteen years. Joye also toured Australia with fellow Bandstand acts, including Judy Stone, Sandy Scott, and Little Pattie. Joye's popularity leveled off with the changes to the music scene around the time of the rise of the British invasion, and especially The Beatles, and it was not until 1973 that he had another hit record, with "Heaven Is My Woman's Love" reaching No.1 on the Go-Set charts in 1973.
Nobody Does It Like Me/Pennies From Heaven/Remember Me/Chloe/Galway Bay/The Old Bazzar In Cairo/Fan Dance Fanny/Lynn What If Your Mother Comes In/Sing Us Another One Do/Hands
Englishman really, but long adopted by Australia. His cheeky brand of Northern humour first found a home on Graham Kennedy's IMT, later he became a cast member of the classic 70s soap "The Young Doctors" and one of the regulars on Graham's version of the game show "Blankety Blanks" where his seemingly endless supply of 'Dick'jokes became stuff of legend. Speaking of Dick, he recently made a comeback advertising a nasal spray that asists with err.. men's problems. Some of the claims may have been slightly exaggerated.
Wednesday, 3 June 2015
Tuesday, 2 June 2015
Hey Paula/Any Dream Will Do/When I See You Smile Again/Jean/My Sentimental Friend/Love Is A Golden Ring/That's Why You
Remember/Candy Man/The Three Bells/Seasons In The Sun/Your'e Sixteen/Just Thank Me
This was requested some time ago but I wanted to do some updating on the album but alas I am unable to find it so apologies for the delay
Ernest William "Ernie" Sigley born 2 September 1938, in Footscray Victoria is an enduring Aussie entertainer known for his square-rimmed spectacles, the gap between his front teeth and his Slapstick approach to comedy . Ernie has had a long career in Australian radio and television,
Sigley's radio career began in 1952 as turntable operator on Danny Webb's breakfast program at radio station 3DB Melbourne. Ernie made his TV debut as host of Teenage Mailbag on HSV 7 in 1957. Ernie then took a gamble and left for England to try his luck and while in London gained some work experience at the BBC and then had a big break when he landed a two year contract at Radio Luxembourg.
Returning to Australia in the mid-'60s, Sigley went to Adelaide where he took over as host of NWS9 's Adelaide Tonight . Hosting Adelaide Tonight for almost a decade led to Sigley and co-host Anne Wills scoring a swag of TV Week Logie awards for most popular personalities in South Australia. In 1974, Sigley returned to Melbourne to host The Ernie Sigley Show at GTV9 , this paired him up with former go-go dancer Denise Drysdale .They both went on to win TV Week Gold Logies as most popular personalities on Australian television and also had recording success with their single 'Hey Paula' becoming a best-seller. The show ended in 1976.
In 1981, after a break from TV Ernie returned to host the Seven Network 's new game show Wheel Of Fortune he compered Wheel of Fortune until 1984. Since then Ernie has hosted various radio and television shows . His las job was the radio annoncer on 3AW'S Afternoon slot but in 2008 Ernie Sigley retired at age 70.
This is the album that Ernie release in 1974 it has the hit that he and Denise Drysdale recorded Hey Paula.