screaming jets all for one rarely without a combining

Dance patrons moved as couples to traditional rhythms, and bands played a wide variety of musical styles.

The nation has a rich history of rock music and an appreciation of the roots of various rock genres, usually originating in the United States or Britain, but also continental Europe, and more recently the musical styles of Africa.

Australian rock has also contributed to the development of some of these genres, as well as having its own unique Australiana sound with pub rock and its indigenous music.

The first wave was from 1955 to 1963 and was influenced by American and British styles with local variants provided by artists such as Johnny OKeefe, who had a hit with Wild One, which appeared in July 1958.

Late in that stage, clean-cut acts, which featured on TVs Bandstand and toured as the Bandstand family, were representing local music on the record charts.

The second wave from 1964 to 1969 was directly influenced by The Beatles and their tour of the country in June 1964.

Two major acts from that era are The Easybeats and Bee Gees.

A weekly magazine, Go-Set, which was published from 1966 to 1974, and aimed at teenagers and twenty-year-olds, quickly became the most influential and popular music-related publication of the period.

Internationally, ACDC started as a pub rock group in November 1973 became one of the most well-known Australian rock bands, with more than 71 million sales in the US alone by 2014.

Also in that decade, indigenous rock groups, Yothu Yindi and Warumpi Band, achieved wider recognition.

Australian musicologist, Ian McFarlane, described Gordon as the midwife of Australian rock n roll, he cut an imposing figure in his role as label manager, tour promoter and all-round music entrepreneur.

From 1954 to 1962 Gordons Big Show promotions brought to Australiain many cases for the first or only timedozens of US jazz, rock and popular stars, including Louis Armstrong, Ella Fitzgerald, Artie Shaw, Nat King Cole, Frank Sinatra, Bill Haley The Comets, Little Richard, Buddy Holly The Crickets, Jerry Lee Lewis, and Chuck Berry.

He also promoted local talent by using Australian acts as supports on those tours.

EMI (Australia) also locally distributed Decca ( The Rolling Stones label) as well as the US Capitol label ( The Beach Boys ).

During this period, however, a number of local companies in Australia expanded into the growing Australian music market, which grew considerably after the emergence of the first wave of American rock n roll.

In 1952 merchant bank, Mainguard took over a struggling Sydney engineering firm, retooled and relaunched it as Festival Records.

Its main local competition was ARC (Australian Record Company), a former radio production and disc transcription service that established the successful Pacific, Rodeo and Coronet labels and competed with Festival as a manufacturer and distributor in New South Wales.

In 1953 precision engineering company White Gillespie established a custom recording division, which their company history claims was the first in Australia to press records in the new vinyl microgroove format.

The new division soon included the WG label and studio, which arguably had its biggest success with the earlier Australian releases of Melbourne band, later based in London, The Seekers.

In 1960 Melbourne consumer electronics company, Astor Electronics, created its own record division, Astor Records, which established the Astor label and also became a leading distributor.

Festival grabbed an early lead in rock n roll by releasing Haleys Rock Around the Clock in Australia in 1956 after it had been turned down by EMI and Decca.

It became the biggest-selling hit released in the country up to that time, and its success set Festival on its way to becoming the dominant Australian local record company for the next fifteen years.

By mid-1957, inspired by Elvis Presley and Little Richard, Sydney-based singer Johnny OKeefe achieved local acclaim after his breakthrough appearances on a Gordon-promoted tour by Haley.

OKeefe carved out a national profile to become a legend of Australian rock music.

He hosted one of Australias first TV rock shows, Six OClock Rock (1959 to 1961), and worked as an AR with Gordons label, Leedon.

He was the first Australian rock n roll performer to attempt to break into the US market.

In early 1960 OKeefes 35 state US tour made little impact although his single, Its too Late, charted locally in New Orleans.

Iggy Pop covered OKeefes March 1958 Australian hit, Real Wild Child, in 1986.

Pop re-recorded it in 2008 with Australian band, Jet.

For a few years, OKeefe and other local rockers including Lonnie Lee The Leemen, Dig Richards The RJays, Col Joye The Joy Boys, Alan Dale The Houserockers, Ray Hoff the Off Beats, Digger Revell The Denvermen and New Zealands Johnny Devlin The Devils whipped up excitement on a par with their US inspirations.

Between OKeefes last major hit in 1961 and Billy Thorpe s first hit in 1964, the local rock music scene had become blander and more conservative.

The charts were dominated by clean-cut acts, many were regular guests on TV pop show, Bandstand (1958 to 1972), and toured as members of the Bandstand family, most were signed to Festival.

Bandstand explicitly appealed to anyone from eight to eighty.

Others were inspired by US surf guitarists Dick Dale and Duane Eddy, or UKs The Shadows and US band the Ventures.

The influence of The Shadows and their lead guitarist Hank Marvin on Australasian pop and rock music of the 1960s and 1970s is underrated.

Australian instrumental bands played at dance venues in capital cities and regional towns.

Like Australian jazz groups, these rock n roll musicians became accomplished players.

Screaming Jets All For One Rarely Without A Combining