The Easybeats’ Formative Years and Early Triumphs

The Easybeats, after their extensive journey, went their separate ways, leaving behind a legacy that continues to resonate through the corridors of rock history.


The Easybeats Melting Pot of Talent

In the vibrant landscape of Australian rock history, The Easybeats emerged in 1964, a fusion of musical prowess and diverse origins. All five founding members, hailing from European migrant families, converged at the Villawood Migrant Hostel. Among them were lead singer Stevie Wright and drummer Gordon “Snowy” Fleet from England, rhythm guitarist George Young from Scotland, and lead guitarist Harry Vanda and bassist Dick Diamonde from the Netherlands. The early and mid-sixties witnessed their families finding a new home at the Villawood Migrant Hostel, laying the foundation for the band’s extraordinary journey.

Inception and Management

The inaugural notes of The Easybeats echoed at Beatle Village, a music venue nestled in the basement of the Courthouse Hotel in Taylor Square, Darlinghurst, Sydney. Inspired by the “British Invasion” spearheaded by the Beatles, the band swiftly ascended to local prominence. Real estate agent turned music entrepreneur Mike Vaughan played a pivotal role, steering them towards success. Vaughan’s managerial prowess led to a contract with Albert Productions, a trailblazing independent record production company in Australia, founded by Ted Albert of J. Albert & Sons, a renowned music publishing company. Under Albert Productions, The Easybeats signed a recording deal with EMI’s Parlophone label.

Early Singles and Album Debut

The initial strides of The Easybeats in the music scene were marked by the bluesy undertones of “For My Woman,” their debut single. Airing on Sydney radio, it became a minor hit, reaching No. 33 on the charts. Recognising the need for a more uptempo track, the band shifted gears with “She’s So Fine,” a breakthrough that soared to No. 3 on the Australian charts, catapulting them to national stardom. The fervour surrounding their concerts birthed “Easyfever,” a phenomenon reminiscent of the hysteria of “Beatlemania.”

Album Success and Charting Hits

The release of their first album, aptly titled “Easy,” in September 1965 showcased the band’s commitment to originality. All fourteen songs were written by the group members, with Stevie Wright and George Young co-authoring eight. The subsequent singles “Wedding Ring” and “Sad and Lonely and Blue” maintained their chart presence, paving the way for their second album, “It’s 2 Easy,” released in March 1966. Notably, the lead singles “Women (Make You Feel Alright)” and “Come and See Her” secured top positions on the Australian charts, with Stevie Wright and George Young penning all fourteen tracks.

United Artists Records and Volume 3

Amidst their Australian tour in early 1966, manager Mike Vaughan ventured to New York City to secure an American recording contract. United Artists Records eventually signed The Easybeats, marking a significant international leap. Before relocating to London, the band recorded a farewell TV special, “The Easybeats” (also known as “The Coca-Cola Special”). August 1966 saw the release of the “Easyfever” EP, claiming the No. 1 spot on the Australian singles charts. “Volume 3,” released in November 1966, continued the streak of success, with the lead single “Sorry” topping the Australian charts.

International Breakthrough with “Friday on My Mind”

Upon reaching London, The Easybeats faced changes in production, joining forces with Shel Talmy, renowned for his work with The Who and The Kinks. Despite initial challenges in the UK market, the composition “Friday on My Mind” emerged as their international breakthrough. Released in October 1966, the single reached #6 on the UK Charts, securing their first major global hit. It soared to No. 1 in Australia, charted across multiple countries, and earned them a gold disc for over a million copies sold worldwide.

In the next phase of their journey, The Easybeats continued to shape the musical landscape, leaving an indelible mark on the pages of rock history.

The Easybeats’ Decline and Farewell

The post-“Friday on My Mind” era brought both challenges and endeavours for The Easybeats. The follow-up single, “Who’ll Be The One,” released on 17 March 1967, faced commercial failure in the UK but secured the 14th spot in Australia. Discontent with the single’s strength, the band hesitated on its release, a sentiment that echoed their prediction as it failed to make a mark internationally.

During the same month, a European tour in support of The Rolling Stones offered a temporary respite. This period also saw the filming of a documentary by Australian director Peter Clifton, initially titled “Between Heaven and Hell” but later known as “Easy Come, Easy Go.” Lost for over four decades, the documentary resurfaced in 2012 after restoration and reediting.

Evolution of Sound and Struggles

May 1967 marked the release of their first United Artists album, titled “Good Friday” (rebranded as “Friday on My Mind” in the US). Following a nationwide tour in Australia, drummer Snowy Fleet departed due to personal reasons, leaving a void in the band’s lineup. A replacement, Tony Cahill, was found, and the group embarked on a US tour in August 1967, supporting Gene Pitney.

The band’s sonic exploration took a psychedelic turn with the release of “Heaven And Hell” in June. Despite its sophistication and influences from the psychedelic pop scene, the single faced challenges, notably a BBC ban. The subsequent single, “Falling Off the Edge of the World,” recorded in New York during their US visit, received moderate airplay but failed to chart.

Shifting Sounds and Failed Experiments

Continuing their studio work, the band released “The Music Goes ‘Round My Head” late in 1967, delving into the emerging UK Rocksteady/Ska scene. Simultaneously, songwriting efforts extended to other artists, contributing to covers by Los Bravos and Paul Revere and The Raiders. The attempt to re-enter the UK charts led to the release of the soft rock ballad “Hello, How Are You” in March 1968, achieving modest success at #20 in the UK. However, the band acknowledged the change in sound as a misstep, alienating their long-term fanbase.

In May 1968, their second album for United Artists, “Vigil” (later titled “Falling Off The Edge of the World” in the US), presented a blend of recent singles, new recordings, and unreleased tracks from the scrapped 1967 album. Despite releasing singles like “Land of Make Believe” and “Good Times,” the band faced challenges, with the latter being their lowest-charting single to date.

Drift Apart and Shift in Dynamics

As 1968 unfolded, internal dynamics within the band shifted. Drug influences and the increasing autonomy of the Vanda and Young songwriting duo marked a departure from their earlier cohesion. The duo’s self-sufficiency in songwriting, instrumental versatility, and production skills altered the band’s traditional collaborative approach.

In 1969, The Easybeats severed ties with United Artists and Albert Productions, signing with Polydor Records. The first single under Polydor, “St. Louis,” released in June 1969, failed to chart in the UK but reached No. 21 in Australia. Simultaneously, the managerial relationship with Mike Vaughan came to an end in July 1969.

Last Tour and Diverging Paths

In September 1969, The Easybeats embarked on a European tour, reluctantly followed by a five-week Australian tour. The latter proved to be less successful due to factors like venue size and a shift in the Australian pop scene’s preferences. The band struggled with debts, worsened by Albert Productions releasing lo-fi demo recordings against their wishes.

Culminating in a valedictory TV appearance and a wedding for bassist Dick Diamonde in October 1969, the band’s final performance occurred at the Amoco Centre in Orange, New South Wales. Interrupted by a hostile audience, the show was canceled after only 20 minutes. The Easybeats, after their extensive journey, went their separate ways, leaving behind a legacy that continues to resonate through the corridors of rock history.