A swingin’ summer: groovy Lorne

Of all the towns I’ve visited along the Great Ocean Road, Lorne has always struck me as the most similar to Melbourne. With its upmarket vibe, bustling main drag and manicured foreshore, it comes across like a well-heeled city suburb. Admittedly, I’ve never holidayed there, so my impressions could be way off the mark…

What I do know, however, is that during the 1950s and 1960s, Lorne was about as hip’n’happening as a Victorian holiday spot could be. Come summer, every man and his dog descended upon Lorne: from surfers to beach-babes; beatniks and rock'n'rollers to families on holiday. Hell, the only folks missing were Annette Funicello and Frankie Avalon!

Not only did Lorne have sensational surf and idyllic beaches…

Loungin' around on the sand at Lorne. Photo: Trevor Lemke (via Wild on the Beach)

…it had a bohemian coffee house boasting one of the state’s first-ever cappuccino machines….

The Arab, Mountjoy Parade, Lorne. Photo: Trevor Lemke

…AND a jumping live music venue that hosted all the coolest Melbourne bands and hippest punters!

The Spinning Wheels in action at Lorne's Wild Colonial Club. Photo Trevor Lemke (via Wild on the Beach)

Why so serious? An unsmiling quartet of Wild Colonial Club-goers, 1960s. Photo: Trevor Lemke

Wild Colonials on the dancefloor. Photo: Trevor Lemke (via Wild on the Beach)

 Arabs and Wild Colonials

It’s hard to imagine what the town’s residents must have thought when local brothers Graham, Robin and Alistair Smith opened their coffee house The Arab in 1956. After all, this wasn’t moody Greenwich Village or downtown Paris, it was the sun-drenched Australian coast. But somehow, it worked. In his poem, “The Arab”, Lorne poet Hayden Rickey reminisces:

This is where in ‘58
In a summertime of fun
We scattered cushions on the floor
Then sat upon our bum
This is where the action was
The coffee strong, the best
Where plans were hatched for conning birds
Then practised with much zest.

Those little devils.

Caffeine kicks at The Arab (which still exists today, incidentally). Photo: Trevor Lemke (via Wild on the Beach)

By 1958, The Arab was so popular that the enterprising brothers decided to open a larger, live-music venue in an old hall down on the beach’s edge: The Wild Colonial Club. Starting out as a jazzer/beatnik haunt, it hit its rock’n’roll stride once surf culture took off in the early 60s.

Over the course of the decade, bands such as The Spinning Wheels, Max Merrit and the Meteors and The Loved Ones played to high-spirited crowds still buzzing from a day on the beach. (For more Lorne beach action, check out my post on Rennie Ellis’s immortal photos of the time)

Summer means fun: goin' off at the Wild Colonial Club. Photo: Trevor Lemke (via Wild on the Beach)

And if the wild tunes weren’t enough, likely lads such as Hayden Rickey (he of the ‘conning birds’ remark) and surfer Murray Walding (a surfing memorabilia nut who waxes nostalgic about the era here), were never short of a foxy chick to twist, stomp and flirt the night away with...

Lorne lassie. Photo: Trevor Lemke (via Wild on the Beach)

Far-out and fabulous! I want those earrings. Photo: Trevor Lemke (via Wild on the Beach)

Beach blanket bingo, baby! No doubt about it, Lorne was where it was at.

Petrol fumes: an old revhead remembers Riverside Dragway

Boy racers are so tedious. Arrogant little louts in their foul plastic-looking cars, with outsized spoilers and peanut-sized – ahem – brains, driving way too fast, drag-racing down public thoroughfares and endangering other motorists and pedestrians as they go. I bet none of them have ever heard of the old Riverside Dragway in Fishermans Bend.

My colleague Norm, who’s always boasting about what fun it was to grow up in 1960s Melbourne, used to go and watch the Riverside drags as a teenager. As its name suggests, Riverside Dragway was by the Yarra, on the airstrip of the Commowealth Aircraft Factories behind the GMH engine plant. No sign of it remains today – it’s just some industrial estates (and a go-karting complex) in the shadow of the Westgate Bridge. But between the late-50s and late 1966, it was the epicentre of Aussie drag-racing. 

Cool and cooler: Riverside draggin'. Still taken from this video 

Now on the other side of 65, Norm’s memories of the races can be kinda …impressionistic. But piece them together and you get some idea of what it must’ve been like down there by the river, amid the smoke and noise, watching a bunch of petrolheads burning down the quarter-mile with minimal safety regulations and the occasional visiting pop star...

"Whacky hillbilly sorts"

When asked what the drivers were like, whether they were a bunch of bodgies or what, Norm says, “You had to be a bit of a hoon. But even now dragster guys are different from the circuit racers. They’re a different breed —whacky hillbilly sorts, revving ‘er up— compared to, say, Nascar, where they speed around in one direction until their head falls off.” Umm, right – thanks for clarifying that.

One driver Norm recalls is Ash Marshall, a Sydney car dealer specialising in luxury Yank tanks (doesn’t sound very hillbilly to me!), who brought down “Australia’s first top-fuel dragster, you know the big American-style car”. 

Ash Marshall (front) and Jack 'Fizzball' Collins (far lane), at the Riverside Drags, 1965.
Photo: courtesy www.moondog.net.au

However, young Norm wasn’t impressed. “He couldn’t even get one run out of it! It was so high-powered, he couldn’t get it started. I’d been really looking forward to seeing him blast down the track in his supercharger, but it just made a few banging noises. Someone in a car like that [see below] ended up winning, I reckon in 11.1 seconds."

“There was no money in drag-racing. Not like circuit racing where you had the likes of Norm Beechey, Bob Jane and Jim McKeown. Drags never attract the same crowds; I don’t think we’ve had any heroes in Australian drag-racing like Don Garlits in America, say … Drag-racing is always the poor cousin." 

Who needs safety precautions when there's no speed? 

Victoria hasn’t always been the nanny state it is today, and Norm tells me the safety standards at Riverside were what you might call relaxed. 

“At Riverside, I don’t remember any barriers around the crowd. If someone wandered onto the track, it didn’t really matter. As to who they’d let race, there weren’t the scrutineers they have today.” He adds, “There wasn’t all the safety, but there wasn’t all the speed either … we’re just talking fun.”

Driver Darryl Harvey on the grid, Riverside Drags, 1960s. Photo: Clive Windley

An FC Holden, waiting to start, Riverside, 1964. Photo: Clive Windley.
You can check out a whole series of amazing drag-racing photos by Mr Windley here.

A very Australian kind of fun, at that. “It wasn’t like the American dragstrips, where they pretend they’ve got a Ford but it’s really made out of fibreglass and has 5000 horse power. There was none of that silliness; it was just blokes in their cars, maybe with an extra-big carby or something like that. I remember one Morris Minor that was fast off the mark: I it had a Holden engine in it. The guy practically sat out the windscreen, he was perched so high up."

“In drag racing these days they’re hitting 500k/h in the quarter mile, but things were very slow then.”

Not sure if this Ford Zephyr is a participant or an observer, but it's pretty damn sweet! Photo: Clive Windley

Nervous breakdown on a flat-bed truck

Everyone knows drag-racing’s better with a rockin’ soundtrack, and Norm was lucky enough to catch Melbourne’s own Merv Benton performing at the Riverside between races.

“You’ve got to remember, he was a bit of a pop star at the time. He performed on the back of an open-tray truck; he did “Nervous Breakdown”. That was pretty cool, I hadn’t seen a dude like him before. Bit of a change from Bing Crosby!”



Sadly, Norm can’t recall seeing any other entertainers down at the drags. “You’re stretching my brains a bit! I don’t even remember how often they had a meeting.” I think it’s safe to assume that only Merv made an impression. 

Any final words, Norman? “I was down at the docks the other day, and was thinking how ironic it is that on one side we’ve got General Motors, which has stopped making cars, and right nearby, we’ve got 1100 cars a day arriving from overseas.” Ain’t that the truth. 

News flash: in a remarkable piece of serendipity, Norm has just told me he used to live across the road to Tom Cowburn from The Spinning Wheels (see my previous post) back in the day. Apparently, when the band got successful, Tom went out and bought himself a Jag, which he took to the same mechanic that Norm used for his Morris. The mechanic would complain to Norm about the Jag, saying, "Why didn't he just get a car like yours?", and whinging how hard parts were to get for it. Small world or what?!

Melbourne song of the month: "Shame, Shame, Shame"/The Spinning Wheels (September 1965)

A band’s name can tell you a lot about them, even before you hear their music. Take The Spinning Wheels. Even my old Aunty Lil, with her Vera Lynn records and True Detective magazines, would’ve been able to make the Rolling Stones connection. But unlike so many Melbourne groups of the time with aspirations to be our own Mick, Keef and co, The Spinning Wheels got there first. 

Early line-up of The Spinning Wheels. L-R: Glen Sievers, Don Hirst, Graham Lord, Rod Turnbull, Mike Perrin.

When The Spinning Wheels formed in early 1964, the Stones hadn’t quite taken off in Australia and Melbourne’s live music scene still had a strong rocker element. But the screaming tidal wave of Beatlemania had already landed; and the floodgates opened pretty fast after that. 

But where the Fab Four were loveably pop, many of the other British groups that emerged in their mop-topped wake were tougher, heavily influenced by black American blues and r’n’b. The Stones, The Pretty Things, The Animals and The Yardbirds (to name a few) — these were the bands that inspired guitarists Don Hirst and Michael Perrin, and drummer Graeme Lord, to blow the folk/skiffle scene they’d been hanging round in and embrace the beat explosion.

The band playing at daytime CBD venue The Bowl in 1964

Add singer Rod Turnbull and bassplayer Glen Sievers (lead guitarist Tom Cowburn came a bit later) to the equation, and The Spinning Wheels were born. Not everyone welcomed them with open arms: in their early days, they were occasionally beaten up by rockers who didn't dig their rootsy sound or mod aesthetic. They also copped a tongue-lashing from the judges of the talent show, "New Faces", who thought they were filthy reprobates! 

Fortunately, music promoter Brian de Courcy had better taste, and invited the Wheels to play at a popular weekly dance he ran in Mentone. Then Stones hysteria kicked off like a herd of stampeding wildebeest and suddenly every booker in town (and Lorne, but that’s a story for a different post) wanted a sound-alike. 

No prizes for guessing who they called. While most other local wannabe Stones combos were still getting their act together, The Spinning Wheels were already firing on all cylinders.

Anyone know what that cool guitar with the Florentine cut-outs is in the background?

The song

Not surprisingly, the band was snapped up by HMV, with whom they released four singles. Their high-spirited version of Jimmy Reed’s classic, “Shame, Shame, Shame” was the B-side of their third single, “You Can’t Catch Me” (the Chuck Berry number), and was recorded at St Kilda’s Telefil Studios with sound engineer Roger Savage (whose name has popped up in this blog more than once).

Where the original is cool and soulful and swingin’, The Spinning Wheels rendition is gritty and over-driven and struttin’. Rod Turnbull’s vocals are a world away from Reed’s southern tones, being closer to the snotty style of someone like Jim Sohn (Shadows of Knight).

In place of the bluesy harmonica solo that distinguishes the original, the Wheels let rip instead with a wild guitar rave-up, leaving the harmonica in the background. As close to fuzz as guitar got in those days, Tom Cowburn’s blistering sound was achieved when Savage split the cone in Cowburn’s little practice amp, cranked up the volume, and miked it up from behind — a trick he’d learnt back in London, where he'd worked with the Stones themselves.

A scorchin’ slice of r’n’b in the best blue-eyed British style, “Shame, Shame, Shame” doesn’t possess that indefinable ‘Aussie sound’ evident in some of the other songs featured on this blog, but it’s still a Melbourne classic…