From AccA-DAccA to ZAppA

22mm
M AT T L AM I NAT I O N w / B R O NZ E F O I L & S P O T U V
Patrick Jones
the photography of philip morris
T
he images in It’s a Long Way: From
Acca-Dacca to Zappa capture what
many believe to be the Golden Age
of Australian music, the years from
1969 to 1979.
As chief photographer for music
magazine Go-Set, Philip Morris was in
the best possible position to photograph
the many stars of the day, including such
B
local heroes as AC/DC, Billy Thorpe, the
orn in rural New South Wales, Philip
Angels and Johnny O’Keefe, along with
Morris started his career behind the
international visitors like the Rolling
lens in Sydney at the age of 15. In the
Stones, Led Zeppelin, Yes, Wings and
late 1960s, he became a contributing
T-Rex. And Philip was able to document
photographer for Australia’s first national
these legendary performers from close
pop publication, Go-Set. Philip quickly found
range, with the type of all-areas access
himself shooting the same musicians who up
until recently he’d admired as a fan, everyone
from Billy Thorpe to Johnny O’Keefe and
AC/DC. He shot AC/DC’s first-ever
professional session and continued to
Philip also shot virtually every international
A photographic memoir
It’s a Long Way: From Acca-Dacca to
Zappa is a remarkable document of an
b y A u s t r a l i a’ s p r e m i e r
era in music and popular culture that
rock and roll photographer
superstar who came to Oz, including Led
Zeppelin, Pink Floyd, Paul McCartney, the
Rolling Stones, Frank Zappa, Yes, the Jackson
5 and numerous others, always displaying his
distinctive sense of intimacy and spontaneity.
the ph oto gr a phy
o f ph i li p morr is
Philip has contributed to every major
we’re likely never to witness again.
From
Ac c a- Dac c a
t o Z a p pa
photograph the band for several years.
that is unheard of today.
publication in Australia and has also shot
award-winning album covers for the Angels,
Midnight Oil and Marcia Hines. A highly
acclaimed exhibition of his work was shown at
the Proud Galleries in London and at Sydney’s
Blender Gallery. Philip’s work also featured
prominently in the Melbourne Art Centre’s
AC/DC Family Jewels exhibit.
It’s a Long Way: From Acca-Dacca to Zappa
is Philip’s first photographic memoir. Philip
lives in Sydney with his two adult daughters.
Visit our website
www.echopublishing.com.au
PHOTOGRAPHIC
F r o m Ac c a - Dac c a t o Z a p pa
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IT’S A LONG WAY
From Acca-Dacca to Zappa
the photography of philip morris
AC K N OW LE DGE MENTS
CONTENTS
A heartfelt thanks to:
Henry Morris, my grandfather, who introduced me to photography by processing film in the laundry at home; Stephen
MacLean; Arthur Dignam; David Elfick; Greg Quill; Donnie Sutherland; Celia Adams; Patrick Jones (many thanks for
the photos on pages vii and page 83); Fifa Riccobonno; Martin Fabinyi; Jane Cameron; Larry McGrath; Paul Lenton;
STARTING OUT
vi
Sue Kernahan; Tali Udovich from the Blender Gallery; Daryl Braithwaite; Rick Brewster; Peter Garrett; Lynn Gladstone;
Roger Davies; Sebastian Chase; Bob King; Julia Taylor; Luke Causby; Ella Morris; Erin Morris; Pat Morris; my mum,
Alberts’ HOUSE OF HITS
May Morris; and my sister, Hellen Morris.
Inside Vanda and Young’s Music Factory
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A special thanks to Jeff Apter for helping me to put this project together and for transforming my ramblings into readable
FROM THE MAINSTREAM TO THE UNDERGROUND
form. To anyone who I may have accidentally forgotten to mention, please accept my apologies — and my thanks for
everything you have done for me along the way.
Billy Thorpe’s Amazing Journey
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For more information on this book, see www.itsalongway.com.au
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Part of the Bonnier Publishing Group
www.bonnierpublishing.com
Printed in China
Cover and page design by Luke Causby, Blue Cork
Front cover: Ourimbah Festival, 1970; Back cover (clockwise): Angus Young, Paul McCartney,
Mick Jagger and Keith Richard, Frank Zappa, Peter Garrett, Robert Plant and Jimmy Page.
National Library of Australia Cataloguing-in-Publication entry
Morris, Philip, author.
It’s a long way : the photography of Philip Morris – from
Acca-Dacca to Zappa / Philip Morris.
ISBN: 9781760067410 (hardback)
Rock musicians – Pictorial works.
Rock music – Pictorial works.
Rock musicians – Portraits.
781.66
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First published 2015
IS
Copyright © Philip Morris, 2015
All rights reserved. No part of this book may be reproduced, stored in a retrieval system,
or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise, without the prior written permission of the publisher.
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Echo Publishing
12 Northumberland Street, South Melbourne
Victoria 3205 Australia
www.echopublishing.com.au
Led Zeppelin 1972
Bluespower Comes Down Under
21
AC/DC’s dirty deeds
From High Voltage to the Truth about Rosie
35
Bands on the Run
At Work and Play with Paul McCartney, Pink Floyd, the Rolling Stones,
Deep Purple, Free, Elton John and Rod Stewart and the Faces
65
THE WILD ONE
Fast Times with JO’K
99
Superstars to One-Hit Wonders
In Concert with Lou Reed, Zappa, Bette Midler, XTC, T. Rex — and the Jackson 5
109
Punks, Hunks AND Mavericks
Marc Hunter, Lobby Loyde, Midnight Oil, Tully, Taman Shud and Mental As Anything
125
Pop Stars AND Golden Boys
Life Behind the Hits with JPY, Zoot, TMG, Skyhooks, Sherbet,
Stevie Wright, Hush, Olivia Newton-John — and Norman Gunston
145
A LONG LINE
The Angels Through the Years
169
going Underground
Weird Scenes from the Counterculture
181
High Times AND Hippie Dreams
Ourimbah ’70 and Sunbury ’74
197
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Me with camera at Led Zeppelin
SYDNEY SHOWGROUND
1972
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In 1969 I was working in
into their offices clutching my
Sydney as an assistant to fashion
folder of photos of skinny blonde
Things progressed rapidly
photographer Alan Nye, but I
models wearing very short skirts.
for me. I went from snapping
was keen to start getting my own
David seemed impressed; I started
winner’s portraits to standing
assignments. One Saturday night
work with Go-Set the following
side-stage – sometimes on stage –
I was at a disco with a mate,
Saturday and continued working
photographing such superstars
watching Doug Parkinson play.
with them for much of the next
as Led Zeppelin (their 1972 show
At the end of his set, as the crowd
decade.
was a career highlight), the Rolling
Saturday night was always a big
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T. Rex and Frank Zappa, as well as
at the next table, who worked for
reporter Jeff James would be in
shooting local stars Billy Thorpe
Go-Set magazine. They said that
the front of the magazine’s van
and Johnny O’Keefe.
photographer Grant Mudford,
and I’d be up the back with all my
who shot for Go-Set, was leaving
gear. We’d head out to places like
Ian Meldrum (before he was
to go overseas. They were worried
the Hornsby Police Boys Club,
‘Molly’), I was also able to
there’d be no one to replace him.
where Cleo and Jeff would get up
document many press conferences
on stage before the band – usually
and record company functions,
someone like Hush – handing
such as the Rolling Stones’
out mags and cans of Coke to the
reception before their 1973 Oz
me to contact the editor, David
audience. Then they’d choose one
tour. I had my own page in Go-Set
Elfick, which I did the next
lucky punter to win an album; my
called ‘Scene Around’, which gave
morning. At 10 a.m. I shuffled
job was to take their photo, which
me a place for my photos from
One of the women, Cleo, told
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event at Go-Set. Cleo and Go-Set
apply for the job,’ I told them.
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Stones, Elton John, Yes, BB King,
a conversation between two girls
I introduced myself. ‘I’d like to
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started thinning out, I overheard
would appear in the next issue.
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starting out
With the help of my colleague
P AT R I CK J O NE S
events such as the opening of
involved in producing all these
took to glam in a big way. Led
Martin Sharp’s legendary Yellow
unique sounds. I also admired the
Zeppelin were different: they took
House, the opening party for Jesus
way UK and American bands led
the tight jean look even tighter and
Christ Superstar and airport press
the way in the rock fashion stakes.
also wore loose-fitting, Eastern-
conferences with Lou Reed, the
The UK band Yes were very stylish
style shirts.
Bee Gees and Pink Floyd. I’d also
for the time, with their high boots
These were exciting times; to be
capture the excitement of the fans
and big-sleeved satin shirts. Local
able to document these emerging
waiting to greet them.
bands like the Easybeats, who’d
trends in music and fashion was
recently returned from overseas,
such a blast. Not so long before
and JPY – and when Status Quo
brought back with them a cool
I’d been a face in the crowd at
toured I swapped my collection
look. It didn’t take the local groups
their concerts, now I was working
of denim-studded shirts for their
long to catch on to the emerging
alongside these legends. It was a
tour shirts. I loved the music,
glam look: Sherbet, Hush,
huge buzz, a real thrill, a time in
the creative side, and the talent
Skyhooks, JPY and even AC/DC
my life I’ll never forget.
I became close friends with JO’K
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ALBERTS’
HOUSE OF HITS
INSIDE VANDA AND
YOUNG’S MUSIC FACTORY
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Previous page:
Harry Vanda and George Young, former
Easybeats and master record producers
ALBERTS’ STUDIOS
EARLY 1970s
from Fifa Riccobono, who worked
while listening to a take. Malcolm,
a brotherly moment I captured
at Alberts in Sydney. Fifa asked if I
George’s younger brother, the
on film. Later on, Malcolm was
could take photos of AC/DC, who
band’s rhythm guitarist, sat
seated, strumming his guitar,
were recording their third album,
slumped over his Gretsch guitar.
while Harry loomed over him,
Dirty Deeds, at the Alberts Studio
It was a gift from Harry Vanda,
checking every note he played.
in Sydney’s King Street. She also
who was producing the album
Then it was time for a final take,
requested that I not use the shots
with George. Angus Young, lead
which was the signal for me to
in Go-Set; this was an exclusive,
guitarist, leaned against an amp,
leave. They wanted no distractions.
closed-doors recording session.
cigarette in hand, yawning. It had
The photos were for Alberts and
already been a long session.
the band. I agreed; I was excited
Singer Bon Scott, whom I’d
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I spotted Bon, surrounded by
lyric sheets. They were spread all
met and shot during his days with
around him, some scrunched up –
shots of a group that was starting
the hippie band Fraternity, was
clearly rejects. He was pulling at
to become big.
sitting at a piano, headphones on,
his hair and cursing the lyric that
screaming into a microphone.
just wouldn’t come. At least not yet.
gear. I set up my lights, which I
Phil Rudd was by himself in a
‘Cheers, Bon,’ I said as I entered
bounced off the ceiling to create
soundproof room, surrounded by
the lift, hoping I’d have some
a more natural effect, and keep
the biggest set of drums I’d ever
good shots from a session that
the mood dark. George Young,
seen in my life.
was occasionally light-hearted but
formerly of the Easybeats, who
was co-producing the record, was
During the shoot, the three
Young brothers, George, Malcolm
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As I walked to the goods lift
about getting some fly-on-the-wall
I arrived alone, just me and my
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and Angus, shared a piano stool,
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at the console, adjusting levels
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In January 1976 I received a call
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quite intense, too. I’m still using
those shots almost 40 years on.
The three Young brothers
ALBERTS’ STUDIOS
EARLY 1970s
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Vanda and Young
ALBERTS’ STUDIOS
EARLY 1970s
Opposite:
Harry Vanda and Malcolm Young
ALBERTS’ STUDIOS
1976
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Opposite:
Harry with
Malcolm and John
Paul Young in
the background
SYDNEY OPERA
HOUSE
1975
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Stevie Wright,
along with Harry,
George and
Malcolm Young.
SYDNEY OPERA
HOUSE
1975
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Stevie Wright,
George Young,
Harry Vanda and
John Paul Young
during a video
shoot
PADDINGTON
1976
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Harry with John
Paul Young and
Arthur Dignam in
the background
ALBERTS’
STUDIOS
1975
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Vanda and Young in the studio with
John Paul Young. Together they
produced such hits as ‘Yesterday’s
Hero’ and ‘Love is in the Air’
ALBERTS’ STUDIOS
1975
George Young and
Harry Vanda at
mixing desk
ALBERTS’
STUDIOS
1975
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Ted Albert (centre) with Ted Mulry
(right) and Dal Myles, Mulry’s
manager, presenting a gold record
for ‘Falling in Love Again’
ALBERTS’ OFFICES
1971
Fifa Riccobono and Chris
Gilbey from Alberts Music,
signing Graham Lowndes
ALBERTS’ OFFICES
1973