There is a myth that no worthwhile progressive music came out of Australia during the 70s. This furphy needs addressing. There may not have been much ‘Prog’—in the sense of rock bands influenced by the Western Art (aka Classical) tradition—but there was an abundance of adventurous, innovative music.

I can think of no better place to begin than with the mighty Spectrum.

TV Week magazine, 1971. From the Mike Rudd collection

New Zealand born Mike Rudd moved to Melbourne with his band Chants R&B in 1966. Early on, he met up with Ross Hannaford and Ross Wilson, soon to form Daddy Cool. The innovation and confidence of the short-lived Party Machine encouraged Rudd to form his own band. Originally a trio with (bass player and long-term musical partner) Bill Putt and talented young drummer Mark Kennedy, the outfit came together when organist Lee Neale joined. This first version of Spectrum formed around the middle of 1969, playing the ‘head’ circuit of Melbourne’s lively underground scene. and toured when the opportunity arose. They cut a single, “I’ll Be Gone” b/w “Launching Place Part II”, released in January 1971, little knowing that it would become an all-time Aussie favourite and (according to Mike Rudd) an ever-popular choice at funerals. As Rudd joked during one of Spectrum’s 50th Anniversary concerts, “I’ve managed to build a half-century career around one song”.

Of course, hit-single immortality was not on the band’s mind when they recorded and released a debut album (sans single*) in March ‘71.

Opening cut “Make your stash” opens with a blast of Guru Guru style noise before the song bursts through. It’s a whimsical ditty about how to smuggle drugs past suspicious constabulary, and was written by the afore-mentioned Ross Wilson, with a little help from Gustav Holst (“Jupiter” from The Planets). From the outset, you are clear that this is not another blues-based pub band.

Many early Spectrum songs have a strong melodic core around which improvisations on guitar and organ circulate, spinning off into spacey jams before returning to base. “Fiddling Fool” is a great example of that, with a catchy organ line preceding the verse, laconically delivered in Mike Rudd’s unique drawl. Lee Neale solos, before another verse and the organ theme. Bill Putt’s bass lopes along, then Rudd takes a solo on guitar. It is laid-back and spacious and it’s easy to see why they were a popular band at the kind of venues where heavy smog was prevalent. Some tapping sticks add a hint of the outback as an organ rumble of thunder spins us into the Milky Way. Neale gets out-there sounds from his organ in much the same way as Tangerine Dream did in their early (pre-synth) music. Eventually the stringed instruments and Kennedy’s rapid-fire snare pull us back to earth for a delicate guitar doodle leading back to the organ theme then snap! it ends. At 12:30, “Fiddling Fool” is the longest song on Part One.

Side two opens with “Superbody”, one of my favourite Rudd compositions. Its’ wry lyric about the dubious pleasures of superhero narcissism kicks off a long instrumental break again featuring Lee Neale’s organ, this time with a more chordal jazz inflection. There’s a fabulous shift into a descending riff where Mark Kennedy lays neat fills over that rhythmic line. I guess it’s a drum almost-solo, but it’s so clever and brief the label doesn’t really apply. Then Rudd’s recorder enters, with reverb (and double-tracking) to add an other-worldly acoustic texture. It sounds like it’s played from a mountain cave-mouth, overlooking a red, sunset plain. We find our way back to the main tune and a final vocal. “You know I would love to fly”, Mike sings. The yearning and unresolved chord hang in the air.

“Drifting” jogs along with an energy at odds with the title. Harmonies on the vocals add depth and Neale’s solo is positively jaunty. The changes of pace—especially the contrast between the sung verses and the instrumental breaks—make this three-and-a-half-minute song a real ear-freshener. It’s both upbeat and wistful, a good trick if you can pull it off, as Spectrum do here.

The album closes with the pretty and slightly mournful “Mumbles I wonder why”, a co-write between Rudd and those Daddy Cool chaps. Neale’s break here is jaunty, almost Magical Mystery Tour-ish, but the cheeriness doesn’t rub off on the singer. There is a core of melancholy at the heart of almost all Mike Rudd’s songs. The plaintive recorder solo emphasises this; even when it dances, we know it won’t last. That sweet/sad/ironic/lonely cluster is probably why I love Mike Rudd’s work throughout his long career. I love this Spectrum debut also, and can imagine many others delighting in its early 70s freedoms.

Spectrum Part One was re-issued on CD by Aztec Music, adding the iconic single “I’ll Be Gone” and the fabulous “Launching Place” (both parts, the instrumental “Part I” and the grooving, psychedelic-tinged “Part II”). As the original vinyl has never been re-issued (other than an Irish pressing of dubious provenance in 2016), it will be easier to get the Aztec CD. This is a good thing, as you get “I’ll Be Gone”, one of the most iconic Australian singles ever. As for the album, it stands up to anything from the era in terms of playing, invention and feel. Vinyl Connection’s advice: Make your stash.

Spectrum at Melbourne club The Thumpin’ Tum in 1971 Credit: Photo by Harley Parker. Mike Rudd collection.

Archival photos accessed at the New Zealand web site Audioculture. Acknowledged with thanks.


I asked Mike Rudd about the single’s absence from the LP. His answer is instructive and interesting, and, with his kind indulgence, is reproduced below.

The debate about including the single is almost the talking point of the album, and I’m still equivocal about it. On one hand it seems like commercial suicide (to omit it), especially given the indulgence quotient of the other five tracks, but on the other hand justifiable for the very same reason. How many albums have you bought because you liked the single, only to find the single was the only track you liked?
Anyway, because there was a six month hiatus before the single was released due to the radio ban, Spectrum had developed the more expansive side of the repertoire at the expense of concise songs like “I’ll Be Gone”. Much more suitable for a Murtceps album, but The Indelible Murtceps weren’t even a gleam in my eye at that stage. The end result was most likely more modest sales for the Part One album than if the single had been on board, but a more harmonious / homogenous collection of songs aesthetically.
That I had the final word on the matter is a sign o’ the times. Record companies had yet to appreciate that they knew best about marketing.

Mike Rudd, personal correspondence, 9 October 2020



  1. Evan Jenkins · · Reply

    Loved Spectrum, they were big at RMIT student uni nights and the Carlton Club. You also bring to mind Madder Lake from around the same era..

    Liked by 1 person

    1. You’re reading my mind again, EJ. I’ve been wanting to write about Stillpoint for ages and even approached Brendan Mason at a Spectrum/Madder Lake 50th Anni gig re an email chat. Better get onto that, eh?

      Liked by 1 person

  2. Evan Jenkins · · Reply

    Great idea for a Covidsafe project. I still have my original vinyl of Stillpoint from that era,

    Liked by 1 person

    1. Me too. GREAT album cover.


  3. That’s another band that passed me by in the seventies. 🙁 Still, it’s good to be able to hear them in the twenties thanks to the YouTube time machine.

    Liked by 1 person

    1. Which, back then, really meant you had missed something. Now the way-back machine offers everything. Hope you enjoy Spectrum, Phil.


  4. There was music before AC/DC in Australia?!

    Interesting stuff Bruce.

    Liked by 1 person

    1. I know! Amazing, eh?
      Two Newsoids for you Joe. The first I imagine you know about – new AC/DC music imminent.
      The second is a thorough Fraternity retrospective (CD, I think). Fraternity were an early 70s proggy hippy outfit featuring… Bob Scott in a kaftan.

      Liked by 1 person

      1. Nooo – mind melted.

        I enjoyed this one, I had never heard of them before at all.

        Liked by 1 person

        1. Spectrum and Mike Rudd across his long career are faves, Joe. He’s a proper gent, too. Always sends a brief appreciative email. (Ariel was a later Rudd band).

          Liked by 1 person

  5. 365musicmusings · · Reply

    Never heard of them! Definately going to give ’em a listen now. Thanks!

    Liked by 1 person

    1. Cool. Hope you enjoy!

      Liked by 1 person

  6. You turned me onto to these guys earlier in your takes. Another plus on the Bruce side.

    Liked by 2 people

    1. Delighted to have been of service! 😊

      Liked by 2 people

  7. Wasn’t sure about this one but then got to “Fiddling Fool” —which was, for some reason, the last song on the YouTube ‘Full Album” stream I chose–and discovered that I would, it turns out, be able to close my eyes to it.

    Liked by 2 people

    1. Years ago a few music nuts of my acquaintance devised an exercise called ‘Convergence’ where we whittled down our collections to those Artists, then albums, then tracks that we mutually agreed upon as 👍. It was labourious but fun. BB and I ended up with 3 CDs worth, Ms Connection and VC made two (well, I made them of course, but she did actually listen a couple of times. While Zeno and I included ‘Fiddling Fool’ from Part One on our single disc.

      I think I just summarised an unwritten post.

      Liked by 2 people

  8. […] As for the album, it is absolutely worth hearing for anyone fascinated by the different forms progressive rock took around the world. Spectrum Part One was featured at Vinyl Connection here. […]


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