A Journey Through Aussie Pop

It wasn't a given that Deni Hines would pursue a career a music. Despite her mother, Marcia Hines, being one of the most recognisable pop stars in Australia, Deni had other interests and suffered from performance anxiety in her younger years. But her vocal talent soon got her snapped up as a backing singer for artists like Wa Wa Nee, Peter Blakeley and Kylie Minogue. It was her voice that also saw her hired as the latest frontperson for funk/dance band Rockmelons. In a frank and unflinching interview, Deni shares exactly what she thought of their collaboration and the hits that ensued. She also recalls guesting on "Not Enough Time" by INXS and what Michael Hutchence was like to work with in the studio. Then, after a solo deal in the US fell apart for reasons beyond her control, Deni landed at Mushroom Records and scored a top 5 hit with "It's Alright". She describes the process of putting together her debut album, Imagination, in London and follow-up singles like "I'm Not In Love" and "Delicious", a duet with Don-E that was added to the UK version of the album (retitled Pay Attention). When her time at Mushroom came to an end — following early 2000s single "Frenzy" — Deni went independent, and she talks about her various projects over the past couple of decades, including Water For Chocolate, The Soul Sessions and her upcoming album, due in 2024.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

Born to parents who both worked in the entertainment industry, Dannielle Gaha grew up surrounded by singing and dancing, training and helping out at the talent school run by her mother, Janice Breen. She made her first steps into the industry herself by appearing on TV talent contest Star Search, which led to ongoing singing work with judge Glenn Shorrock and, through that, her big break — being picked to record duet "Communication" with John Farnham. Dannielle, who now goes by her married name DeAndrea, recalls those early stages of her career and what it was like performing with the biggest male singer in the country on the anti-drugs hit. She also discusses the music she released as a solo performer, Australian single "I Like It" and the three tracks through her deal with Epic Records in the UK: "Stuck In The Middle", "Do It For Love" and "Secret Love", most of which involved input from Wa Wa Nee's Paul Gray. Although that solo pop career didn't take off as she hoped, she landed on her feet in the mid-'90s with an ongoing gig as one-half of The Nissan Cedrics on Roy & HG's series, Club Buggery, and since then has carved out a diverse career in a range of musical styles.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

It was inevitable that singer, songwriter and multi-instrumentalist Rick Price would forge a career in the music industry, but rather than jumping at any offer of a record deal that came his way, he took his time to ensure the situation was just right. Before signing to Sony Music and releasing debut album Heaven Knows in 1992, he worked for many years as a session singer, appearing in a national ad for Australia's Bicentennial in 1988 and on charity single "You're Not Alone" by Australian Olympians. He was also involved in the early stages of Girlfriend's career as a songwriter. When his own deal did fall into place as he wanted it to, he hit the ground running with back-to-back top 10 hits "Not A Day Goes By" and "Heaven Knows". Ever conscious of doing things his way, Rick switched up his sound for second album Tamborine Mountain — and he talks about his label's response to a less commercial approach and how they convinced him to come back to pop for third album Another Place. Rick also discusses his more recent independently released albums, his move to Nashville and collaboration with fellow early '90s star Jack Jones.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

In 1983, synthpop bands were big business on the Australian music scene, with Kids In The Kitchen snapped up by Mushroom Records imprint White Label Records. The band's singer, Scott Carne, and drummer, Bruce Curnow, discuss how weekend jam sessions quickly led to gigs and that record company interest. Hits followed, with "Change In Mood" and "Bitter Desire" both reaching the top 20, but a dispute over the music video for the latter led to two original members being asked to leave. With replacement members in position, more hits (including "Something That You Said" and "Current Stand") and platinum-selling debut album Shine made KITK one of the hottest bands in the country. But then the wheels started to come off, with under-performing singles ("Out Of Control", "Say It" and "Revolution Love") from second album Terrain, which was released after a disastrous trip to the US. Following the demise of the band, Scott was involved in two very different musical projects, but now, he and Bruce reunite with other KITK members for occasional concerts (including an upcoming show at the Corner Hotel in Melbourne).Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

Despite a background on Melbourne's dance music scene and no intentions of being a pop star, Katie Underwood did just that, becoming one of the most recognisable members of Bardot and given prominent lead vocals on all three singles from the self-titled debut album, "Poison", "I Should've Never Let You Go" and "These Days". In an extensive interview about her music career, Katie explains her motivations for being part of the Popstars girl group and what brought about her decision to leave Bardot during recording for second album Play It Like That. She also discusses the various musical projects she has been involved in since then, including her collaborations with Disco Montego, Mr Timothy and former Bardot band-mate Belinda Chapple as Ka'Bel. Katie also reveals how her solo career, which was kicked off by 2003 single "Danger", was dealt a blow when her record company dissolved, but how she now is in complete control of her musical output.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

For Sally Polihronas, the Bardot experience had its ups and downs. On the plus side, being part of the girl group allowed her to really hone her vocal skills — something she wanted to focus on after more than a decade as a dancer and performer in Adelaide — and took her into the studio with producers around the world. She also got to have her "Madonna moment" in the "These Days" video and has many cherish memories of Bardot's achievements. But there were drawbacks, too. In an exclusive in-depth interview, Sally reveals what made her think about quitting Bardot long before the group disbanded in early 2002 and why she stuck around until the (literally) bitter end. She also sheds new light on the discord within the band about things like the division of vocals and what she describes as "mean girl" behaviour. With a couple of decades of perspective, Sally can also rationalise why Bardot's time was brief, citing a number of external factors that contributed to the group's collapse.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

In early 2000, reality TV juggernaut Popstars changed the pop music landscape in Australia forever. Launched by the show, Bardot were an instant phenomenon, shooting to number 1 with debut single "Poison" and their self-titled album. Comprised of Belinda Chapple, Sophie Monk, Sally Polihronas, Katie Underwood and Tiffani Wood, the five-piece girl group encountered ups and downs during their relatively short career, many of which are recounted in Belinda's book, The Girl In The Band. In this first part of a Bardot special, Belinda joins us to talk about the experience of being in the group and how it culminated with a shock betrayal as her pop music career was unexpectedly taken away from her when the band was dissolved. Bardot's six top 20 singles and two albums are discussed, as well as pivotal moments like Katie's decision to leave as recording was underway for second album Play It Like That. Belinda also shares her experience in the industry after Bardot and what brought her and Katie back together as Ka'Bel.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

From their beginnings holding warehouse parties in Sydney's inner city to their string of chart hits in the late '80s and early '90s, Rockmelons always stood out from the rest of the Australian music scene by championing genres that few others did — and taking them mainstream. Formed by the core trio of Ray Medhurst and brothers Bryon and Jonathon Jones, the funk/soul/R&B/hip-hop/dance-influenced band also welcomed a series of regular and guest vocalists to their line-up, including John Kenny (the singer of "Rhymes" and "New Groove", among others), Sandi Chick, Peter Blakeley, Wendy Matthews and Deni Hines (who fronted "Ain't No Sunshine", "That Word (L.O.V.E.)" and "It's Not Over"). In an in-depth interview, Bryon and Ray recall the hurdles they surmounted on first two albums Tales Of The City and Form One Planet — lack of radio support, friction with certain collaborators, recording delays — and their against-the-odds success. They also talk about 2002's comeback album, Rockies 3, and the spanner in the works that prevented that enjoying a higher profile. Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

As vocalist of Do-Ré-Mi and as a solo artist, Deborah Conway has received critical acclaim and mainstream success, but in this wide-ranging interview, the singer/songwriter reveals her music career hasn't always been smooth sailing. From the unexpected success of Do-Ré-Mi's debut single for Virgin Records, "Man Overboard" — a song without a chorus — to the detour into a solo dance project that mostly remains locked away in the record company vault to that time in the early 2000s when she and musical and life partner Willy Zygier played in fans' lounge rooms, Deborah's story is one with surprising twists and turns. For every up, like her ARIA Award win for debut solo album String Of Pearls (which included hits "It's Only The Beginning" and "Under My Skin"), there's the tale of Do-Ré-Mi being pressured to go more pop on second album The Happiest Place In Town (which featured top 30 single "Adultery"). It's all delivered with Deborah's renowned dry wit and sharp sense of humour.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

A song that was originally intended just to be used in a dream sequence on soap opera E Street became the highest-selling Australian single of 1991 when it was released as the debut for then-teenage actress and singer Melissa Tkautz. That song was "Read My Lips" and in a frank and at times raw interview, Melissa reveals her naivety about the track's sexual overtones and how its success took everyone by surprise. She also talks about follow-ups "Sexy (Is The Word)" and "Skin To Skin", recording debut album Fresh and how she juggled her TV work with her music commitments. Melissa opens up about some of the experiences she had as a young pop star that were less than enjoyable and how she would have liked more creative input and control over her recordings — something she was able to achieve with her music comeback in 2005 with the Lost And Found album and her remake of "The Glamorous Life". As well as touching on personal tragedy and lessons learnt during her decades in the entertainment industry, Melissa celebrates her pop star experience and the whirlwind she was unexpectedly swept up in.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

Funk, dance, pop, soul, jazz, rock, musical theatre and, with new album My Life Is A Symphony, orchestral arrangements, Kate Ceberano has covered a lot of musical terrain in her 40-year recording career. In this honest and unflinching chat, the singer/songwriter discusses the pop side of her extensive catalogue of work, starting as singer of '80s band I'm Talking and continuing through the roller-coaster ride of her solo career. Commercial triumphs like Brave and Pash are dissected alongside fan favourites like Think About It! and Kensal Road, with Kate recounting behind-the-scenes stories and sharing what each experience has meant to her. From game-changing performances like the Jesus Christ Superstar arena spectacular to the false start of the Globe album, Kate's career is filled with fascinating stories and life lessons. And, of course, fantastic music, with singles like "Bedroom Eyes", "Brave", "See Right Through", "Pash" and "True Romantic" just some of the tracks covered.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

R&B and funk had been slow to take off in Australia, but when those genres really started to be embraced locally in the mid-'90s, a four-piece boy band from Melbourne were perfectly placed to become this country's pre-eminent vocal harmony group. All four original members of CDB (Andrew De Silva, Gary and Brad Pinto, and Danny Williams) join us to talk about how they slogged away on a scene that was just starting to take off and how a break providing backing vocals for Peter Andre was crucial in them securing their own record deal with Sony Music. With songs written by Andrew as a teenager, CDB were teamed up with established artists Paul Gray (from Wa Wa Nee) and Rockmelons to shape their sound into something commercial, with hits "Hook Me Up" and "Hey Girl (This Is Our Time)" following. But it was a remake of "Let's Groove" which propelled the group into the big league, with solid sales for debut album Glide With Me as a result. Second album Lifted, which showed a maturing of CDB's material with more songwriting input from other members, didn't perform as well despite featuring stellar tracks like "Good Times" and "Back Then". This was followed by Andrew's cancer diagnosis and departure from the group, and a missed opportunity for the second line-up, resulting in them disbanding. But you can't keep a good vocal group down, with CDB's more recent reunions highlighting the synergy the original four-piece has always had.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

We continue to follow Ricki-Lee Coulter's musical journey from when her time at Shock Records came to an end after the disappointing performance of singles "Don't Miss You" and "Hear No, See No, Speak No" and the decision by Ricki to shelve her intended third album. She explains why the choices being made at this stage weren't ones she agreed with and how meeting husband Richard Harrison helped get her career back on track. That reset happened with Fear & Freedom, with Ricki-Lee recalling how that album came about and the process of signing to major label EMI to release it. With hits like "Raining Diamonds" and "Do It Like That", things went incredibly well, but a record company merger led to the follow-up, Dance In The Rain, having a difficult rollout and the situation surrounding subsequent stand-alone singles "Not Too Late" and "Unbothered" once again signalling to Ricki that it was time to move on. Now a fully independent artist, Ricki-Lee discusses the work she's been doing over the past year with production duo DNA, which includes current single "On My Own" and an upcoming album she promises is full of bangers.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

In a career spanning almost 20 years, Ricki-Lee Coulter has gone from the shock of an early elimination in Season 2 of Australian Idol to a prominent presence on the pop culture landscape thanks to her 15 top 50 hit singles, four studio albums, hosting gigs on two of the country's top reality shows (including the 2023 revamp of Idol) and role as a radio host. In the first part of a two-part chat, Ricki discusses her decision not to originally sign with Sony Music but go with independent record company Shock Records instead and the string of hits she had on that label, many of which she co-wrote. Why did she cry on the set of her very first music video for debut single "Hell No!"? How did her highest-charting single, "Can't Touch It", wind up on a Hollywood film soundtrack? Which of her music videos was Video Hits unhappy about? Why did she release a singles collection after only two studio albums? Ricki-Lee has the answers. We also hear about her detour into girl group territory with Young Divas and some surprising never-before-shared memories of that roller-coaster ride. In Part 2 (coming soon), we'll cover Ricki's departure from Shock following her decision to shelve her third album, her move to EMI for the landmark Fear & Freedom album, the messy rollout of fourth album Dance In The Rain and the road to new music, including current single "On My Own".Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

Between 1980 and 1990, Icehouse racked up 13 top 20 hits across six studio albums and cracked both the US and the UK top 20 at different points, Initially known as Flowers, the band fronted by Iva Davies were at the forefront of new wave music in Australia, with their sound ranging from atmospheric synth ballads to rocky party tunes — and everything in between. In this career-spanning interview, Iva talks about the band's "dangerous" early sound that stood apart from their contemporaries on the pub rock scene and why writing hits came naturally to him. We hear the story behind chart-conquering classics like "Great Southern Land", "Hey Little Girl", "Crazy" and "Electric Blue", but also the downside of success, with Iva contending with a band break-up and a personal breakdown. He also discusses 1993's  experimental seventh album Big Wheel and why Icehouse's days as a recording act came to an end, capping off a legacy that endures to this day, with Icehouse remaining one of Australia's most popular touring bands.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

After crossing paths in 1992, singer Tania Doko and musician James Roche realised they shared a creative spark that would quickly evolve into pop/rock duo Bachelor Girl. The pair tell us about the road to getting signed with Ross Fraser and John Farnham's label, Gotham Records, and how their top 5 debut single, "Buses And Trains" was part of that journey. Tania and James reflect on the success of that song and how it led to being signed by US industry heavyweight Clive Davis and a revised version of debut album Waiting For The Day. While overseas success wasn't to be, Bachelor Girl followed their first local hit with others like "Permission To Shine", "I'm Just A Girl" and "Treat Me Good". We hear about the inspiration behind their songs, the pressures involved in their second album, Dysfunctional, and how record company politics led to their joint career being put on hold. Tania also reveals details of her solo record deal, which was also cut short in the mid-2ooos, and her stint as a mentor on Popstars Live. Then, the story of how they reunited for singles "Speak" and "Calling Out Your Name" in recent years is also told.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

They ruled radio and the charts in the mid-2000s, but when Rogue Traders started out, they were a very different proposition than the dance/rock hybrid that scored a string of hit singles a few years later. DJ/producer James Ash recalls the band's evolution from releasing disco-inspired club tracks to edgy, sample-laden anthems like "One Of My Kind" and "Voodoo Child". Recruited to front the band for top 5 smash "Voodoo Child", singer and actress Natalie Bassingthwaighte discusses the audition process to gain the gig and her reluctance to trade on her Neighbours fame to promote the single. With a four-piece line-up settled, the band went from strength to strength, with songs like "Way To Go", "Watching You, "Don't You Wanna Feel" and "I Never Liked You" ensuring they were never far from the top 10. James and Natalie share their memories of those heady days and the choice to move away from samples on 2007's Better In The Dark. Nat also talks about her decision to go solo in 2008, while James fills us in on the less commercially successful period for the band with new singer Mindi Jackson, Then, we hear how the classic line-up of Rogue Traders came to reform and are now back touring and releasing new music.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

The Chantoozies had enjoyed an amazing run from their inception to the release of their debut album, but behind the hit singles and high rotation music videos, tensions were simmering. A split down gender lines developed — a situation that was exacerbated by a relentless touring schedule and some members not feeling they had enough say. The band members talk candidly about their disagreements and artistic differences, as well as the romances that existed between Eve and Brett, and Angie and David. Tottie and Scott also explain their reasons for leaving the band ahead of 1989 single "Come Back To Me", while David reveals what motivated him to quit after that track's release. Then, we hear about the decision to sack Brett and Frank, and reconfigure as a three-piece girl group. After all the upheaval, the new-look band scored a welcome hit in 1991 with a remake of "Love The One You're With", but split within a year. Reunions followed in the decades since, and these days, Ally and Eve keep the Chantoozies name alive as a duo.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

What had started out as a bunch of girlfriends catching up for drinks and a bit of a sing-along turned into one of Australia's biggest pop groups of the late '80s and early '90s. In the first episode of a two-part special, singers Ally Fowler, Tottie Goldsmith, Angie Arnott (née La Bozzetta) and Eve von Bibra, as well as musicians Brett Goldsmith, Scott Griffiths and David Reyne talk about how The Chantoozies came into being and went from playing gigs in one of the clubs run by the Goldsmiths' father to hitting the ARIA top 10 with their cover of "Witch Queen" and original track "Wanna Be Up". We'll also hear about the head-to-head battle with The Party Boys thanks to rival versions of "He's Gonna Step On You Again" and how the band's rigorous touring schedule earned them cred on the local music scene. In Part 2, the story continues as members leave and the eight-piece band, that also featured the late Frank McCoy on guitar, slims down to a trio.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com

Born in the UK, raised on the Gold Coast and discovered on Australian TV performing Bobby Brown songs, teenager Peter Andre was snapped up by Molly Meldrum for his record label, Melodian. After a couple of years' development, which included a songwriting trip to the UK to work with Phil Harding and Ian Curnow at PWL, the diehard Michael Jackson fan released his first single in 1992. But it was his second release, a cover of "Gimme Little Sign" that turned Peter into a star — and he recalls both his reluctance to record the track and his insistence that he show off his buff body in the music video. Further ARIA chart success continued as did support slots on high-profile Australian tours by Bobby Brown and Madonna, but with it came a backlash from certain quarters. Peter reveals the impact the negativity had on him and why he relocated to the UK to work on his second album. With tracks like "Mysterious Girl" and "Flava", Natural would be the album that would see his career take off in his homeland and allow him to achieve a long-held ambition to sell out Wembley Arena. In our candid interview, Peter also discusses why he left the industry after his US R&B-influenced third album, Time, and the comeback he never expected to have in the 2000s.Bonus material at chartbeats.com.au/aussieTwitter: @ChartBeatsAU, @TurnAroundOnJoyInstagram: @chartbeatsau, @joyturnbeataroundEmail: chartbeats.au@gmail.com