The New Improved Model Models?

In July of ‘85, Models appeared as one of the headline acts for Australia’s ‘Oz For Africa’ concert (our contribution to the global ‘Live Aid’ initiative). Models set included ‘Big On Love’, ‘I Hear Motion’, and their brand new single, ‘Out Of Mind Out Of Sight’ (penned by Freud). The glam rock inspired song bombarded the senses from the get go, and was a barnstorming rock and roller of a track. The song’s construction and execution was flawless, with the finished product loud and proud in all its crowd pleasing glory. Freud once more stepped up to the microphone for vocal duties, and played the sultry, seductive rock star for all it was worth. The accompanying music video showcased Models as hard edged rock ‘n rollers, with much denim and leather on show - not entirely unlike INXS. But though ‘Out Of Mind Out Of Sight’ was an engaging piece of polished pop-rock perfection, it possessed an undercover of brashness, and a raw passion permeated throughout. Models had effectively distilled a myriad of musical inflections into a perfectly moulded pop morsel. They’d also hit upon the formula for a #1 single, as in September of ‘85, ‘Out Of Mind Out Of Sight’ replaced Tina Turner’s ‘We Don’t Need Another Hero’ at the summit of the Australian charts, where it held on for two weeks. Discounting the EP release ‘Species Deceases’ by Midnight Oil, Models also hold the honour of being the only Australian artist to reach #1 at home during 1985.

As its title track was surging toward #1, Models’ new album hit stores in August of ‘85, and immediately hit the national charts. The Opitz produced set featured the three singles released to date, ‘Big On Love’, ‘Barbados’, and ‘Out Of Mind Out Of Sight’, along with seven other tracks, recorded across three studios (Rhinoceros, Platinum, Paradise). September of ‘85 represented the commercial zenith for Models, with the #1 single, and #3 album on the Australian charts. Manager, and sometimes pop alchemist, Chris Murphy had seemingly pulled all the right strings in aiding Models to finally break through as a big time player on the mainstream music scene. After seven years of seemingly boundless promise, the band had arrived as a wholly capable, cohesive, and confident unit. It’s arguably no coincidence that Models’ two biggest hit singles featured lead vocals from James Freud (the whole radio-friendly angle), but it would be a mistake to make such a clear delineation in the roles of Freud and Sean Kelly, as one being more commercially accessible than the other. Each party was astutely capable of transcending the full spectrum of stylistic expression.

Understandably, Models spent a lot of time on the road during the latter half of ‘85, during which time the sultry, brass laden single ‘Cold Fever’ (OZ#36) was released, with James Freud once more handling vocals. The song’s funky edge was infused in liberal doses throughout the ‘Out Of Mind Out Of Sight’ album, provoking more comparisons with INXS, and further alienating some who had become accustomed to the band’s earlier work, but of course attracting a good deal more critical and commercial acclaim on the flipside. Models had one more single release in reserve (the fifth lifted), with the more reserved, atmospheric ‘King Of Kings’ released in December of ‘85. The single signalled a return to front man duties for Sean Kelly, and also featured an excerpt from Martin Luther King’s famous ‘I have a dream’ speech. ‘King Of Kings’ was a beautifully crafted song, and Models shared some of the wealth they’d accumulated over the previous year by donating all the proceeds from the single’s sales to the Salvation Army - though the charity’s coffers may not have been boosted by as much as either they or the band would have hoped, as ‘King Of Kings’ only reached #96 nationally.

In early ‘86, the band’s management company, MMA, then proposed that Models begin work on recording a follow up album to ‘Out Of Mind Out Of Sight’. It would appear that the logic behind this strategy went a little something like this. Geffen Records had backed the release of both the album, and single, ‘Out Of Mind Out Of Sight’, Stateside, and the mood was optimistic about the potential reception for both. That mood of optimism extended to the belief that it was a case of sooner of later, more than likely sooner, before Models became huge across the world. MMA reasoned that if the band already had another album in the can, or in reserve so to speak, they would be freed up to head off on whatever live tour or promotional jaunts that their impending superstardom generated. At a time of their (or management’s) choosing, the ‘here’s one we prepared earlier’ follow up album could be wheeled out to much fanfare. Seemed like a good idea at the time. So in early ‘86, Models jetted off to London to record their ‘in case of needing follow up album, press here’ follow up album. Kelly, Freud, Mason, Price, Valentine, and Wendy Matthews, all bunkered down at Trevor Horn’s state-of-the-art Sarm West Studios in London, alongside co-producers Mark Opitz and Julian Mendelsohn.

Whilst work was well underway by Models on their next album, both their previous album (US#84), and its title track, ‘Out Of Mind Out Of Sight’ (US#37), had made moderate inroads into the U.S. market during mid ‘86. After recording had been completed on the next album, Models hopped on over to the States to play some live shows to promote the ‘Out Of Mind’ set. During November, British synth-pop act O.M.D. (see future post) invited Models to support them on a U.S. tour. Unfortunately, beyond the shows they were playing, interest in the U.S. for their music seemed to be waning. By December, Models opted to return home in time for the release of their ‘album in reserve’. Actually, by that time two new singles had already been released, and had performed quite respectfully on the charts. The mid-tempo, funk-laced ‘Evolution’ created a peak place for itself at #21 on the Australian charts, post its August ‘86 release. ‘Evolution’ was also included on the soundtrack to the U.S. teen comedy ‘Soul Man’, and the song’s 12” version boasted the extended title of ‘The Evolution Of Albert Einstein’. Another Sean Kelly composition stepped up to the single’s plate next, with the infectiously groovy ‘Let’s Kiss’ puckering up and planting one at #27 nationally late in ‘86. Both songs offered a clear indication as to what resided between the covers of Models’ new album.

‘Models’ Media’ went to air in early December of ‘86, and by Christmas was broadcasting from #30 nationally. No doubt there would have been some residual interest leftover from its predecessor, but as a stand alone effort, ‘Models’ Media’ had also already spawned two top thirty singles. Once more, a danceable funk-laden groove coursed through most of the tracks, but a track like the sweltering, reggae inflected ‘Shootin’ Train’, proved Models still had more than one gear to engage. Following the album release, the band then joined a stellar line-up of acts on the mammoth ‘Australian Made’ tour during January of ‘87 (sharing the bill with Mental As Anything, INXS, Divinyls, Jimmy Barnes, Triffids, The Saints, I’m Talking). In March of ‘87, the third single from ‘Model’s Media’ was released. From the opening shards of synthesizer, the Kelly/Freud composed ‘Hold On’ (OZ#30) announced itself as a pristinely polished pop-rock nugget that exuded a grandiose, almost epic atmosphere. In my humble view it is the stand out track on the album, and sits comfortably as one of the finest highlights in the Models’ songbook.

By the second half of ‘87, it was apparent that all within the Models’ camp was not sitting pretty, but the band fronted up for one last blast with the single ‘Oh! Darling’, a cover of the classic ‘Abbey Road’ track by The Beatles. Sean Kelly must have damn near launched his larynx across the studio floor while he was belting out the vocals. I’m not prone to being favourable toward covers of Beatles’ songs, but if they’re of quality I’ll gladly be so. In this instance, Models nailed the challenge, but their take on ‘Oh! Darling’ barely scratched the surface of the top fifty (#48), and in terms of new material from the band, that was all she wrote for Models.

In late ‘87, Roger Mason and Sean Kelly released the album ‘The Last Hoedown’, under the side-project moniker of The Clampetts. Associate vocalists, Kate Ceberano and Wendy Matthews were already laying the groundwork for their own solo careers. Models assembled during 1988 for an extended national tour under the banner, ‘Thank You Goodnight’ (ostensibly to pay off some creditors). Following the tour’s conclusion, it was announced the band had broken up.

Saxophonist James Valentine has spent much of the ensuing twenty years involved in television/radio presenting (just as well given the post 80s downturn in demand for sax players). Andrew Duffield and Roger Mason both went on to do score and soundtrack work for television and film, whilst drummer Barton Price eventually returned to New Zealand to pursue music interests. For more details about the immediate post-Models’ career of Sean Kelly, check out my previous post on Absent Friends, a virtual ‘supergroup’, comprising Kelly, Wendy Matthews, ex-Models’ mates Andrew Duffield and James Valentine, and a host of others. Kelly also formed the soul/funk infused Dukes during the early 90s, who released the album ‘Harbour City’ in 1992 (featuring the brilliant single ‘Faith’-OZ#35). During the second half of the 90s, Kelly played with an outfit called Interchange Bench, along with several other artists. In 2006, Kelly released his debut solo album, ‘Moons Of Jupiter’.

James Freud immediately reassumed solo status, and flew to New York to record an album with production genius Bernard Edwards (Chic). Reportedly, the album ended up becoming the most expensive ever backed by Mushroom Records. ‘Step Into The Heat’ was released in June of ‘89, following the lead out single ‘Hurricane’ (OZ#19), which I purchased on vinyl 45. The album only yielded one more minor hit, ‘One Fine Day’ (OZ#61), and failed to produce much heat of its own on the charts (OZ#22), leading to a parting of the ways between Freud and Mushroom. After a stint playing bass in Kylie Minogue’s touring band, James Freud then teamed up with Mental As Anything singer/guitarist Martin Plaza. The duo went under the name Beatfish, and released a self-titled album in late 1991 (OZ#83). The album was largely dance oriented, and yielded two minor hits, ‘Wheels Of Love’ (OZ#26), and ‘All Around The World’ (OZ#67), but Plaza soon after returned to duties with the Mentals, leaving Freud once more bandless. For a few years Freud earned a quid by composing and producing music for advertising campaigns (jingles for short). By 1996, he was ready to start recording another solo album, but the proposed ‘Big Mouth’ was shelved. One track reached finality in the production process, a surf-pop styled song titled ‘Postcard To Hawaii’. Freud put together a new band called Moondog (which included Plaza) to re-record the track, and eventually recorded an entire album with Moondog, titled ‘Postcard To Hawaii’, and released in early ‘97. In 2008, Freud finally released another solo album, titled ‘See You In Hell’, which was apparently well received.

In 2000, Models reformed, albeit briefly, for a series of live shows, and in 2001 an album of live rarities, ‘Models Melbourne’, was released on Shock Records. One reunion is rarely enough for bands these days, so in 2006 Kelly and Freud assembled another Models’ line-up for a series of shows. During 2008, Models celebrated thirty years since their original formation, with mainstays Sean Kelly and James Freud heading up the band for a celebratory tour.

Over the course of a tumultuous decade long career, Models may not have ascended to the very pinnacle of the Australian music scene (though they came damn close), but through their uncompromising, and at times pioneering music, they’ve left an indelible impression, and enduring musical legacy. Despite numerous line-up changes over time, Models remained resolute in their collective identity, and even when some cast a cynical eye during their more ‘mainstream’ phase, they maintained an absolute integrity in their approach to writing, recording, and performing music.

Thanks to Warwick from 80s Dreamer blogspot (see link in Ultra Cool Retro Links) for helping out with some great source photos, little known tidbits, and access to a 1986 interview with Sean Kelly. To read the interview in full, and much more, check out Warwick's Models' fansite at - http://handonhandle.ning.com/
Update - In October 2010, Models received a much deserved place in the A.R.I.A. Hall of Fame. Tragically, just one week later, one of the band's key talents James Freud died in tragic circumstances. With his right hand man gone, it's unlikely Sean Kelly will lead Models along the musical catwalk again.

Models Of Modern Major Music Talent

There’s little doubt that the reunion of Sean Kelly and James Freud as creative entities, lent a new level of confidence, and vibrancy, to Models. James Freud’s seductively refined vocals, rock star strut, and polished playing, seemed a logical offset to Sean Kelly’s raw vocal vitality, jolting instrumentation, and all round manic edginess. Throw in Andrew Duffield’s inventive synth playing, and Barton Price’s powerhouse presence behind the drums, and the entire dynamics and texture of the band had shifted to a new level. There was every reason for those associated with Models to believe that this revitalised line-up possessed a commercial edge not apparent, or at least not realised, before.

Highly regarded producer Nick Launay (Birthday Party, Midnight Oil, Talking Heads, Kate Bush) was charged with the task of tapping into, and harnessing, this newly apparent pop-rock potential. The band worked on their new album during the first half of ‘83 (recorded in Sydney and mixed in London), and the first gem to be realised from the sessions arrived during September, in the form of the lead out single, ‘I Hear Motion’. The band approached the recording with a deliberate intent to shift the rhythm section more to the forefront, and instil a distinctly danceable flavour to proceedings. That’s not to say Models had in anyway forsaken their ballsy stylistic roots in complete deference to pop accessibility, but they were at least aiming to bridge the gap to formulate a hybrid style of sorts. When I hear ‘I Hear Motion’, I hear a finely tuned synth-rock machine springing to life. From the opening shots of Andrew Duffield’s synthesizer, followed by the explosion into action of Barton Price’s thunder clap of drums, I’m immersed in a cold, foreboding, yet hauntingly alluring world, that echoes strongly elements of the industrialised synth-pop that emerged out of Europe and the U.K. (early Human League, Ultravox, Daniel Miller, Faust, Kraftwerk). Kelly and Freud then kick start the pulsating guitar and bass components, but it’s Sean Kelly’s menacing vocals that add that extra layer of brilliance. Kelly oscillates between restrained snarls and explosive growls, delivering a lyric that synchs seamlessly with the background mechanics. To top things off, the song’s chorus chant incites you to stand up and march - I have no idea where too. There’s a strange and irrepressible sense of ebullience lurking in the surface menace. ‘I Hear Motion’ encapsulates both the old and new Models - the borderline chaos of disparate elements and styles, fine tuned to a polished end product. No doubt the band played the major part, but producer Nick Launay must surely be credited with achieving his brief of capturing the raw horsepower and extracting a thoroughbred performance from it. ‘I Hear Motion’ became Models first top twenty hit (OZ#16), and provided the gateway to a reinvented sound and image for the band (complete with slick ‘new romantic’ style suits in the promo video). As an aside, Andrew Duffield later revealed that his synth-riff in ‘I Hear Motion’ had been inspired by Stevie Wonder’s ‘Superstition’ - well if you’re going to be inspired, it might as well be by genius.

‘I Hear Motion’s source album, ‘The Pleasure Of Your Company’ (OZ#12), was released in October of ‘83, and quickly climbed up the national charts, in part on the back of the success of ‘I Hear Motion’. James Freud also took a share of lead vocal duties, and doubtless his smoother, ‘radio friendly’ vocals assisted in attracting a wider audience. In some respects, Kelly and Freud set up a very effective (and oft used) balance of sweet and sour in the vocal department. Fans had their first taste of the Models’ vocals, Freud-style, via the up-beat album track, ‘Facing The North Pole In August’. The occasional attack of the ‘bizzares’ crept into the mix, and why not, with ‘Watch Your Mouth’ resembling the bastard offspring of ‘Stray Cat Strut’ and a Phil Judd at his most eccentric. ‘No Shoulders, No Head’ surfaced during December as the album’s second single, but for mine, it was an oddly disengaging choice - the public at the time must have agreed, as the single failed to chart. But all was not lost, and over the 83/84 summer, Models snagged a support slot on David Bowie’s mammoth ‘Serious Moonlight’ tour of Australia (and maintained a hectic tour schedule in the ensuing months). Over time the term ‘crossover’ had begun to be attached to the Models’ brand, a reflection in part of their increasing commercial returns. By comparison to other Melbourne based acts such as Birthday Party or Hunters & Collectors, considered by some as ‘alternative’ or unconventional, Models’ had seemingly crossed the border into more commercial viable, or dare I say it, mainstream territory - but sold out they had not. The ‘crossover’ tag probably lost a little credibility with the chart performance of Models’ next single, ‘God Bless America’, released in April of ‘84. The song was backed by a very innovative and presumably costly video clip, shot in 3D, though perhaps the overheads were kept down by the fact that it was shot in a junkyard. The video clip did feature the band’s new backing singers, Kate Ceberano and Zan, of funk-soul outfit I’m Talking. But despite being an eminently listenable, and quite funky track, ‘God Bless America’ crawled to a disappointing #86 nationally.

Following on from the disappointing performance of Models’ last two singles, Sean Kelly seemed poised to pull the plug on the band, and had reportedly been rehearsing with a new band. Recognising that Models may be on the threshold of the big time, Mushroom Records arranged for big shot American producer Reggie Lucas to produce a few new tracks. On the surface it seemed an odd move to hand pick a producer, with a background as a jazz musician, and most readily associated with dance/R&B material in the production stakes. But quality is quality, and the involvement of Lucas was enough to convince Kelly and the rest of Models to return to the studio and lay down some new cuts. The first result of the collaboration arrived in October of ‘84, in the form of the exceptional single ‘Big On Love’ (co-written by Kelly and producer Lucas). If ‘I Hear Motion’ evoked a sense of raw mechanics at work, ‘Big On Love’ lubricated the machinery with fluid funk. Of course the smoothness required a few rough edges, just to jolt the senses. Sean Kelly’s blistering, crunching guitar, and trademark vocals, infused the track with just the right amount of bullish attitude, projecting a primal lust into the lyrics. Above all else, ‘Big On Love’ is a kick ass song - a crying shame that more were not seduced by its lure (OZ#24). Although not immediately apparent at the time, ‘Big On Love’ served as an appetizer for Models’ next album - but there would be one or two more twists in the road before the band arrived at that station.

The latter part of ‘84 witnessed a couple of key events which further altered the bandscape for Models. Keyboard/synth player, and Sean Kelly’s lieutenant, Andrew Duffield, parted ways with Models in what could only be described as acrimonious circumstances. Details at the time were sketchy, and the matter was subject to much conjecture and scrutiny within the music industry and media, but it was never quite clear whether Duffield dived overboard, or was encouraged strongly to walk the plank. In his 1986 interview with Smash Hits magazine, Sean Kelly alluded to a key factor being the increased pace of creative output, something that apparently didn’t sit well with Duffield. Whatever was at the heart of events, it was a potentially cruel blow to the balance of the band going forward - or at least it could well have been, had Models continued on the same trajectory. Duffield’s replacement was found in the form of Roger Mason, James Freud’s old band mate from his Radio Stars/Berlin days (so there was kind of a ‘keeping it in the family’ ring to it). Meanwhile, Andrew Duffield continued to write and record his own music, and in 1988 released the solo album ‘Ten Happy Fingers’ on his own Retrograde label. I recall seeing an interview which featured Kelly and Duffield talking about Models (can’t quite recall the source - or vintage), and though the two were most definitely on talking terms, there were still one or two light hearted barbs made in reference to Duffield’s departure. Around the same time that Mason replaced Duffield, Models also decided to recruit a saxophone player, back in the days when they were in plentiful supply, and still a much valued commodity in the popular music industry. James Valentine had built up a strong rep around the traps, and he became the fifth Model at the end of ‘84, whilst Canadian songstress Wendy Matthews came on board as a backing vocalist (Matthews and Kelly would become a couple for the next eleven years).

Models then opted to shift their base of operations to Sydney, and signed to a new management company, MMA. Friends, mutual admirers, and the biggest band in the land, INXS, just happened to be the star client for MMA, under the management auspices of Chris Murphy. Models and INXS had been on friendly terms for years, and in a sense came up through the ranks during the same period - the difference now being that INXS was on the verge of cracking the international market - in a big way. The album to do that for INXS had been ‘The Swing’, on which Models’ Sean Kelly and Andrew Duffield had contributed some backing vocals. At INXS’ encouragement, Chris Murphy took a personal interest in helping Models achieve the same degree of commercial success being rained down upon INXS. But a tad more tweaking in the band’s sound and style would be required, to further align Models to a more commercially accessible pop-rock angle. The shift in approach would inform the style on their next album, but as ever, Models didn’t completely forsake their post-punk roots, and would manage to effectively weave the two strands together, with edgy synth-rock counterbalancing melodic pop-rock.

At the beginning of 1985, Models began work on material for their fourth studio album. Producer Reggie Lucas oversaw early production work on Models’ next single, with local hot shot producer Mark Opitz (Angels, Cold Chisel, Australian Crawl, INXS - surprise, surprise) later remixing the track. Opitz then assumed the reigns for the remainder of the album’s recording. In March of ‘85, Models signalled their clear intent to walk the radio-friendly pop line with the release of their new single. ‘Barbados’ was a slow tempo, reggae-tinged song, that was radically removed from the band’s previous single ‘Big On Love’ (ironically the recently departed Duffield co-wrote ‘Barbados’ with Freud). The song had a breezy, almost dreamy quality that washed over listeners with its warmth and charm. James Freud handled lead vocals, and his voice had a soulful, crooning quality to it, though given the song’s subject matter it could have been interpreted as a deliberately slurred edge. Despite the languid, sunny disposition of ‘Barbados’, lyrically, the song had a much darker side, exploring themes of alcoholism, and impending suicide. Freud acted out the character role in the accompanying promo video, directed by none other than Richard Lowenstein (who worked extensively with U2, and guess who else - INXS). The full version of the video didn’t make it past the television censors at the time, with the removal of several scenes relating to an inferred suicide by Freud’s lyrical character (the video’s theme was apparently inspired in part by the film ‘The Deer Hunter’). I’m Talking’s Zan Abeyratne, and Kate Ceberano, appeared in the video clip, with Ceberano credited with backing vocals for the track. Ironically the theme of alcoholism dealt with in the lyrics rang true in life for Freud, and the title of his first autobiography, released in 2002, was ‘I Am The Voice Left From Drinking’, a line lifted directly from the lyrics to ‘Barbados’ (in 2007 he published the follow up ‘I Am The Voice Left From Rehab’). ‘Barbados’ dawned on the Australian charts shortly after its release, and washed ashore to a high tide of #2 by mid year, establishing it as by far and away Models’ biggest selling single to date. But they were about to go one better.

Thanks to Warwick from 80s Dreamer blogspot (see link in Ultra Cool Retro Links) for helping out with some great source photos, little known tidbits, and access to a 1986 interview with Sean Kelly. To read the interview in full, and much more, check out Warwick's Models' fansite at - http://handonhandle.ning.com/

The Evolution Of Models

After Sean Kelly tuned out of being a Teenage Radio Star, he looked for a career change. Well, no not really, but he did become a model, or to put it more accurately, he became the driving force behind a new band called Models.

In August of ‘78, Kelly hooked up with former Teenage Radio Stars’ bandmate Pierre Voltaire, who had left the Stars constellation just a few months prior to Kelly, and taken up a post with JAB. The newly defunct status of JAB, allowed Voltaire to drag along a couple of his former band mates, now in need of a new group home. Along with Sean Kelly (vocals/guitar), and Pierre Voltaire (bass), the initial line-up of Models also comprised Ash Wednesday on keyboards, and Janis Friedenfelds (AKA Johnny Crash) on drums. In a 1986 interview with Smash Hits magazine (courtesy of handonhandle.ning.com), Sean Kelly made reference to the first Models’ line-up being like JAB, only with himself in place of former JAB vocalist Bohdan X. Initially the going was slow for Models, as Kelly acclimatised to band life without the creative sounding board of James Freud. New material was penned steadily though, and over the latter part of ‘78, Models began to play a few live gigs in and around the Melbourne area, honing their sound together. Before year’s end, bassist Voltaire was ‘encouraged’ to leave, in favour of the more R&B inclined Mark Ferrie (local Carlton bands like The Leisuremasters and Carrl Myriad Band). Over the opening months of ‘79, Models quickly established a solid following on the live circuit - after all, these guys weren’t novices. Support slots with overseas acts like Dr. Feelgood, and the Stranglers, further consolidated Models’ growing reputation. Tracks such as ‘Body Shop’, ‘Years Ago’, ‘Whisper Through The Wall’, and ‘Brave New World’, quickly became crowd favourites at the band’s gigs (but many of these crowd favourites wouldn’t make it onto studio releases). By August of ‘79, Ash Wednesday had left to pursue solo projects, and was replaced by keyboardist Andrew Duffield, ex of experimental electro-pop group Whirlywirld. Duffield would prove a key addition to the creative evolution of Models. The Kelly, Friedenfelds, Ferrie, and Duffield roster, is generally considered to be the first ‘classic’ Models’ line-up.

Models’ first appearance on vinyl came during October of ’79, via a single that was actually a giveaway at the band’s gigs. The single was recorded and produced independently, and released on the Crystal Ballroom label (it was recorded live at a gig at St. Kilda’s Crystal Ballroom). Credits (and presumably costs) were split between Models and a former label mate of the Teenage Radio Stars, the Boys Next Door (who would emerge as the only long term survivor from the Suicide roster - albeit as the Birthday Party). The Models’ track was ‘Early Morning Brain (Is Not The Same As Sobriety)’, with the Boys Next Door flip-side being ‘Scatterbrain’ (not sure if the common theme was coincidental). The single wasn’t well received, and not seen as representative of the band’s sound. Models were said to be dissatisfied with the release of the single, or as Sean Kelly later revealed, they hated it, and when coupled with internal tensions, it was enough to lead to the break up of the band during November of ‘79.

Had it not been for an invitation proffered by legendary producers Harry Vanda and George Young, Models may have been lost to the Australian music scene then and there. Significant industry buzz had reached the ears of Vanda and Young, and they invited Models to record some demos at the famed Albert Studios in Sydney (it also helped that the producer behind the Teenage Radio Stars single ‘Wanna Be Ya Baby’, Les Karsky, was on staff at Albert). That was all the motivation the band needed to reform, and they kicked off their ‘comeback’ with a packed New Year’s Eve gig at St. Kilda’s Crystal Ballroom (soon after laying down a few tracks at Albert Studios). With a new lease on life, Models went into overdrive on the road during the first half of 1980, and in addition to their own extensive gigging, the band scored support slots for several high profile touring acts (Midnight Oil, The Vapors, Magazine - see previous posts, The Ramones, B-52s, XTC). The surge in Models’ profile was enough to incite a furious bidding war for their services, from several major labels.

July 1980 saw Models enter the studio to begin work on their debut album. The band opted to make the recording process a self-funded affair, in an effort to retain a degree of creative freedom in studio (which included producing the album - with the assistance of engineer Tony Cohen). Mushroom Records (ironically the label that handled Freud’s Radio Stars) won the bidding war and signed Models to a deal. Prior to the album being finished, Models independently released the single ‘Owe You Nothing’ in August of 1980 (or at least gave it away to fans at their live gigs). The song had been recorded late in ‘79, and with the B-side, ‘Progressive Office Pools’, emerged out of the Albert Studios’ sessions a few months before. In November of 1980, Models released their debut album ‘Alphabravecharliedeltaechofoxtrotgolf’ (students of the NATO phonetic alphabet rejoice), and per their request to Mushroom Records, no associated singles were released, though Mushroom did issue a promotional 12-inch EP which featured the album track ‘Two People Per Sq Km’. The album’s title was inspired by Sean Kelly’s brief stint with the Department of Defence, prior to embarking on the life of a rock and roller.

Models also took the potentially risky decision not to include many of the fan favourites from their live shows, undoubtedly to the consternation of some. But it allowed the freedom to expand their musical palette, within the safe experimental proving ground of a recording studio. Many of the tracks that made it to the album evolved out of studio improvisations, which aided in giving the album a raw, spontaneous quality, despite the obvious engagement of cutting edge technology. Models were nothing if not fearless in their experimentation of styles and instrumentation, and both Kelly and Duffield were key to that. Into the Models’ melting pot were poured liberally dashes of glam rock, art-rock, punk, new wave guitar driven pop, industrial-synth, ska/reggae-rock, and electro-pop, all laced with cryptic, at times confronting lyrics. Sean Kelly’s raw, straining vocal style may not have been to everyone’s taste, but it suited the Models’ model perfectly, and his emotive screams and sighs (and muffled enunciation) were already becoming a key component of Models’ sound. Andrew Duffield drew on his experience with Whirlywirld, and an obvious partiality for the U.K./Euro synth-pop movements, to infuse the album with generous brush strokes of inventive synthesizer throughout (as evidenced on tracks like ‘21HZ’). Despite the absence of so many ‘live’ favourites, fans of Models supported the album in numbers, pushing ‘Alphabravecharliedeltaechofoxtrorgolf’ to a high of #32 nationally, early in 1981. Songs like ‘Kissing Round Corners’ and ‘Pull The Pin’ echo strongly some of the work of contemporary British bands at the time, such as The Members and The English Beat, whilst the sensationally synth-driven ‘Happy Birthday I.B.M.’ is an example of what synth-pop can sound like, when drenched by sunshine through a haze of oddball playfulness.

With a well received debut album behind them, Models took up an invitation to open for British powerhouse The Police on their Australian tour, during February of ‘81. Just prior to that tour, drummer Janis Friedenfelds left the band (later to join rambunctious rockers Sacred Cowboys), and his place in goals was taken by Buster Stiggs (ex of Phil Judd’s vehicle The Swingers - see future post). Models so impressed with their performance, that Derek Green, vice-president of The Police’s label A&M Records, offered the band an international distribution deal (which they duly accepted). The band then set about recording some demo tracks at Richmond Records, with the intent of sending them to the U.K. in preparation to record their second album over there. They worked principally with Tony Cohen at the production helm, and the resultant sessions so impressed both Models and Cohen, that a decision was taken by Mushroom to release a six track EP, or ‘mini-LP’, on 10” vinyl. Kelly, Duffield and Ferrie shared song writing duties across the tracks, whilst Split Enz keyboardist Eddie Rayner dropped by to produce the off-beat track ‘Atlantic Romantic’. There was an effervescent, spontaneous quality across the entire EP, highlighted by the sunny-side up ‘Two Cabs To The Toucan’ (backed by a very clever promo video - which I recall seeing on ‘Countdown’ at the time), showcasing Sean Kelly’s distinctively ‘post-night-on-the-town’ vocals. The capriciously charming ‘Cut Lunch’ found itself at #37 on the Australian chart menu during August of ‘81, but Models would have relied on a long distance telephone call to receive the good news, as they’d already arrived in London to begin work proper on their second album.

Producer Steven Tayler (Underworld, Sting, Peter Gabriel) helmed the U.K. sessions at Farmyard Studios, and the resultant album ‘Local &/Or General’ was released in October of ‘81. The British release via A&M featured an altered track listing, which included the ‘Cut Lunch’ tracks, ‘Two Cabs To The Toucan’, and ‘Atlantic Romantic’. Models were nothing if not uncompromising in their approach to recording music - they knew only one set of rules, their own. That’s not to say they weren’t heavily influenced by outside factors, but their melding of disparate elements rarely resulted in anything other than an idiosyncratically Models’ song. During their stint in England, Kelly and co. were strongly influenced by the burgeoning reggae scene, driven largely by expatriates from the Caribbean (they weren’t the only musicians heavily influenced by the reggae scene). A local Jamaican steel drum band called The Kentones make an appearance on the ‘Local &/Or General’ set. Despite experiencing the after effects of walking headlong into a set of glass doors in the recording studio, Sean Kelly turned in some of his best work to date, and was backed by a band that seemed to be confidently hitting stride as a cohesive unit. The melange of avant-garde, experimental laced fare permeated throughout the album’s eleven tracks, which even included a snippet from a rollicking version of the old Tornados’ surf-rock classic ‘Telstra’ (Sean Kelly had been inspired to belt out a version of the song after he’d learned that Richie Blackmore had been a guitarist with the Tornados). Models’ version not only showcased Kelly’s dexterity as a guitarist, but a strong synergy within the band. It also effectively captured the strong ‘visual’ aspect to Models’ music of that era (the band’s live shows frequently featured a slide show accompaniment). Whilst the ‘Local &/Or General’ album managed to peak at #30, despite regular airplay on the increasingly popular JJJ radio network, the title track single, which dripped with dark alley atmosphere, spliced with an oddly anthemic chorus, fell short of seeing any chart action.

As 1982 dawned, Models entered a phase of tremendous instability in their playing roster. Firstly drummer Buster Stiggs departed, to be replaced by Graeme Scott, and an additional guitarist, John Rowell, was also recruited. That model Models was a brief affair, but did perform together at the Mushroom Evolution Concert, held in Melbourne during late January. Next to leave the catwalk was bassist Mark Ferrie, who formed a new band, the aforementioned Sacred Cowboys, which included former Models’ bandmate, Janis Friedenfelds (Ferrie also released a remixed version of the song ‘Unhappy’ - he had performed the lead vocals on the original version from Models’ ‘Local &/Or General’ set). Sean Kelly then pulled the definitive masterstroke in the Models’ career to date - inviting old friend, and onetime Teenage Radio Stars cohort, James Freud to join the band (although as Kelly whimsically stated in his 1986 interview with Smash Hits magazine, Freud “sort of miraculously popped up from nowhere”). As mentioned in the previous post, Freud had seemingly exhausted his options with his Radio Stars/Berlin projects, and gladly accepted the gig as Models’ co-vocalist, and new bass player (a major shift from his previous instrument of choice, the guitar). In return, Models were gaining the services of an exceedingly talented, and pop savvy, musician. Soon after, Kelly, Freud, and Duffield tested the in studio chemistry as part of the support cast for the album ‘Fear Of Flying’, by vocalist Bohdan, formerly of JAB, who were of course former label mates of Teenage Radio Stars.

Freud’s first official assignment with Models came via the stand alone single ‘On’, recorded during the first half of ‘82 with legendary producer Lobby Loyde, and later released in August of ‘82 (#1 on independent charts). It was a suitably eclectic offering, boasting a more prominent guitar presence, and featuring a strong bass riff from Freud. But the musician merry-go-round hadn’t finished, as soon after both Rowell and Scott left the scene, closely followed by Duffield, whose departure would turn out to be more of a brief sojourn. By mid ‘82, Kelly and Freud had located a new drummer in the form of New Zealand born Barton Price. Price had been playing most recently with a Sydney outfit called The Proteens, but initially made the jump across the Tasman as part of the Kiwi band Crocodiles (Jenny Morris’ old band - see previous posts). For a brief time, Models toured as the powerhouse trio of Sean Kelly, James Freud, and Barton Price (the trio appeared in the promo video for ‘On’), and for an even briefer period keyboardist Gus Till joined the fray for gigging purposes. A refreshed and reinvigorated Andrew Duffield then returned to the fold, and completed the second ‘classic’ Models’ line-up, no doubt to the relief of all concerned at the time.

Models had already exhibited distinctly cinematic leanings, via a short film produced to accompany the ‘Cut Lunch’ EP. They explored that interest further late in 1982, when they produced a film titled ‘Pop Movie’, which cleverly melded animation with live footage of the band. The film was aired on the television rock show ‘Nightmoves’, and even gained a limited cinema release at selected venues. 1982 had proved to be a tumultuous one for Models, but with Freud on board, there was reason to think that 1983 might see the band raising the bar, both creatively and commercially.

Thanks to Warwick from 80s Dreamer blogspot (see link in Ultra Cool Retro Links) for helping out with some great source photos, little known tidbits, and access to a 1986 interview with Sean Kelly. To read the interview in full, and more, check out Warwick's Models' fansite at - http://handonhandle.ning.com/

Just to retain some variety in proceedings (after all it is the spice of life), my next post will be a non-Models related affair, though it will cover the career of another fine Australian band. The Models’ odyssey will resume, with parts three and four hitting cyberspace later next week.

These Radio Stars Really Were Radio Stars

Back in 1985 I was in year 11 in high school (equivalent of senior high I guess), on the very cusp of adulthood, yet still very prone to the inherent characteristics of being a teenager. It seems, for better or worse, that many of the experiences at that time of life establish a far more resonant cubicle within our memory block. The ‘better’ aspect of that quirk of cognitive recall, for me, often revolves around the music of that era - that seems to be a common theme for most people. So, when I hear a Models song, particularly a song from their 1985 mega-selling album, ‘Out Of Mind, Out Of Sight’, it conjures up memories of a train ride to Sydney with my high school English class to see the David Williamson penned screenplay ‘The Club’. I have very little recall of the play itself (or that performance anyway), but I can recall a train compartment full of high school students belting out the lyrics to the album’s title track ‘Out Of Mind, Out Of Sight’. I also recall just how big Models were on the Australian music scene at that time - they were at the very brink of national, nay international, superstardom. But as with any artist (or most), the journey to that point in rock and roll’s road was, to borrow a popular phrase, a long and winding one, involving several teenage radio stars, a cut lunch, early morning brains, modern girls, and countless other ingredients.

By the mid 80s, Models had ascended to the upper echelon of the Australian music scene, mentioned in the same breath as INXS - and like INXS, the origins of Models can be traced back to a decade earlier. In their case, to a bunch of Melbourne teenagers, inspired by the explosion of the punk rock scene, both overseas and at home, and wide eyed at the seemingly endless opportunities offered by a revitalised live performance circuit. These raw, energetic teen players joined forces under a common banner, and during 1977 took the first tentative, but purposeful steps toward establishing their niche amidst the throng of acts jostling for attention on the burgeoning post-punk/new wave scene.

James Freud (born Colin McGlinchey) and Sean Kelly were school friends, and both shared an interest in the current music scene. Freud and Kelly initially played together in a school band called Sabre (alongside drummer Ian McFarlane). Inspired by the current punk material on the radio (and with a residual love of glam-rock), Freud (lead vocals/guitar), and Kelly (guitar/vocals), formed a fulltime band at the first opportunity upon leaving school (Freud was 17, Kelly was 18) - actually, Kelly had briefly tried his hand at the 9 to 5 grind, but it wasn’t for him. They recruited bassist Graeme Sciavello, and drummer Peter Kidd, and dubbed themselves Spred. After first performing together at a birthday party for James Freud's sister, Spred played their debut professional gig on New Year’s Eve 1977 (seem to recall AC/DC also played their debut gig on New Year’s Eve), alongside fellow punk-rock outfits Babeez, and Boys Next Door (later to become The Birthday Party). The occasion was labelled ‘Punk-Gunk’, and the venue was a prestigious footpath, in the Melbourne suburb of Carlton.

By January ‘78, Spred had been re-dubbed Teenage Radio Stars (well they were still teenagers, and aspiring radio stars), and soon after signed with the Suicide label, who at that time were a gateway into the recording scene for a lot of Australian punk/rock acts - the Suicide label was in fact a small subsidiary of Mushroom Records (with distribution via RCA). Around this time Freud and Kelly recruited a new rhythm section, comprising Pierre Voltaire (born Peter Sutcliffe) on bass, and Dave Osbourne (not of the ‘Super’ variety) on drums. The new line-up contributed two tracks to the Suicide label’s punk themed compilation, ‘Lethal Weapons’ (sans Mel Gibson), released during May of ’78 (OZ#66). The album also featured tracks from the Boys Next Door (later to become The Birthday Party), avant-garde punk outfit JAB, and pioneering new wave band X-Ray-Z. Teenage Radio Stars contributed the songs, ‘Learned One’, and ‘Wanna Be Ya Baby’, both co-written by Freud and Kelly, with the latter title released as a single in April ‘78. Although credited to James Freud and Sean Kelly, ‘Wanna Be Ya Baby’ was a reworking of the song ‘Baby Baby’, originally featured on British punk band The Vibrators’ album, ‘Pure Mania’, released in ’77. The release of ‘Wanna Be Ya Baby’ earned Teenage Radio Stars a slot on the ABC’s ‘Countdown’ - an opportunity much valued by up and coming acts - and alongside label mates the Boys Next Door, Teenage Radio Stars were paving the way for future post-punk/new wave artists to break into the commercial mainstream.

Shortly after their ‘Countdown’ appearance, the dial was retuned once more on Teenage Radio Stars, and when the signal returned the band’s roster had changed to Freud, Kelly, Mick Prague (bass), and Mark Graeme (drums). Previous bassist Pierre Voltaire had elected to hook up with JAB, though it would prove a short lived association, as the band were entering their death throws as a going concern. Meanwhile, previous drummer (super) Dave Osbourne went on to play with popular pub rockers Fastbuck, alongside Richard Grist (vocals), Wayne Sullivan (bass), and Vic Crump (guitar). It was clear at this point that James Freud had assumed a controlling share in the creative direction of Teenage Radio Stars, with his love of glam rockers such as Marc Bolan and David Bowie, and the likes of punk pioneers the Stooges, being strong stylistic influences. By August of ‘78, Sean Kelly and James Freud found themselves on different musical frequencies, and Kelly parted ways with the Teenage Radio Stars. But it wasn’t the closing of the book on Sean Kelly’s music career, but rather would prove to be the genesis of a post-punk pioneer on the Australian music scene - but more about that in the next three posts.

Tony Harvey came on board to replace Sean Kelly, and since none of the band’s members were any longer in their teens, Freud opted to shorten the band’s name to The Radio Stars, followed soon after by James Freud’s Ego (or possibly Id). Neither new moniker evoked any sense of positive direction for the band, and by the end of ‘78, Freud had taken the decision to break-up the band. Guitarist Tony Harvey went on to play with ex-Hush vocalist Keith Lamb’s new band Airport, and later played with The Runners (see previous post).

James Freud then decided to reinvent the wheel, or in this case a horse. A young Melbourne band called Colt had caught Freud’s eye, or at least ear, and he took the chassis of Colt to form a new vehicle called James Freud and the Radio Stars. Alongside Freud were Bryan Thomas (guitar), Murray Doherty (bass), Glen McGrath (not of the ooh-ahh variety - drums), and Roger Mason (keyboards). By mid ‘79, Tony Lugdon (ex-Steeler) had replaced Thomas on guitar, and shortly after Freud and crew got their big break when Mushroom signed them to an album deal. Produced by Freud himself (with Barry Earl), the band set about recording their debut album over the latter half of ‘79, during which time the playing roster evolved to Freud, Mason, Peter Cook (guitar), Mick Prague (bass), and Tommy Hosie (drums).

In May of 1980, the debut single for James Freud and the Radio Stars was released. ‘Modern Girl’ was a fresh, vibrant slice of radio friendly pop-rock, brimming with quirky little mannerisms throughout. By the second half of 1980, ‘Modern Girl’ had peaked at an impressive #12 nationally (#5 in Melbourne), aided no doubt by a memorable appearance on ‘Countdown’. As ‘Modern Girl’ was ascending the charts, James Freud and the Radio Stars played support to British synth-guru Gary Numan, on his much hyped Australian tour. In June of 1980, the band’s debut album ‘Breaking Silence’ was released, though a question mark was raised over who should receive credit on the charts. The album cover credited James Freud, though the actual record label added the Radio Stars to the billing. Per chart records, ‘Breaking Silence’ was credited to James Freud and the Radio Stars, and peaked at #75 nationally. Credits aside, ‘Breaking Silence’ was a showcase for James Freud’s craft as a songwriter and producer, and the music within matched his carefully constructed image/sound for the band - of glam tinged, new wave hipsters.

Gary Numan had been so impressed by Freud (and the Radio Stars), that he invited Freud back to the U.K. to record another album. The results of the recording sessions were shelved (and remained so), for reasons largely unknown, beyond reports that neither Freud nor Numan were happy with the results (many of the songs recorded with Numan had been performed live by Freud and co. when they were supporting Numan on his Australian tour). One of the curiosities of popular music arises when an already established band, with an established name, travels to another country (or releases material) where there just happens to be a local act with the same name. I’m not sure if it’s a legality or just convention, but the overseas band adopts a new moniker, and such was the case when James Freud and the Radio Stars arrived in London to work with Numan. There was a British band called the Radio Stars - actually in this case they were a pretty well established outfit - who had already released a couple of albums. So, Freud renamed his band Berlin (no connection with the U.S. act), and retained the name upon their return to Australia late in 1980. The moniker of James Freud’s Berlin was adopted for the release of the follow up single, ‘Enemy Lines’ (OZ#84), lifted from the ‘Breaking Silence’ album.

In March of ‘81, the single ‘Automatic Crazy’ hit stores, this time credited to James Freud and Berlin, and produced by Gary Numan (whilst he was on tour in Australia). ‘Automatic Crazy’ went precisely nowhere on the charts, and by April James Freud once more took his sledge hammer and broke up the band - figuratively speaking of course - but when I read the words ‘Berlin’ and ‘broken up’, I had visions of a flipping great wall. Broken up band aside, Freud hopped a flight back to London in mid ‘81, and sitting beside him was Berlin keyboardist Roger Mason. The pair intended to form a new band in England, and indeed did just that, calling themselves Orient-R. But Orient-R was a short lived experiment, and evaporated after just one gig. Roger Mason stayed on in the old dart to take up a post with Gary Numan’s touring band. For James Freud, it was a case of taking stock, and returning to Australia in early ‘82. Waiting for him upon his arrival was a place in yet another revamped line-up of Sean Kelly’s band, a band that were promising to surpass the achievements of Freud’s previous endeavours, and one which could no doubt benefit from his talent, experience, and pop savvy approach.

PLEASE NOTE - Some of the photos used in this post were sourced from Debra's 'flickr' account (damselfly58) and have been reproduced here with her kind permission. Thanks Debra.

Thanks to Warwick from 80s Dreamer blogspot (see link in Ultra Cool Retro Links) for helping out with some great source photos and access to a 1986 interview with Sean Kelly. To read the interview in full, and more, check out Warwick's Models' fansite at - http://handonhandle.ning.com/