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You know, the years when music actually meant something to you? My Birthday Hits is a list of the UK number 1 songs for each year since the charts began. The idea is simple. Enter your birthday and we'll create a list of every UK number 1 songs on your birthday each year. The actual soundtrack to your life, right? Why not check out all the UK number one songs throughout your teens - 1 on your 14th birthday for example?

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Or the number one on your 21st birthday? Or how about the 1 when you turned 40? Watch the videos, create a Spotify playlist, or buy the tracks you like best on Amazon or iTunes. Looking for US number one songs? Associates Programme, an affiliate advertising programme designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.

My Birthday Hits. Select your birthday Find Hits. It was the first time a release by a completely independent Australian artist on their own independent label had reached the top of the national charts. More than 35, people trekked to a farm owned by Mr George Duncan at Glencoe, just outside the township of Sunbury over the Australia Day long weekend to witness performances by The Aztecs, Chain, Friends, Glenn Cardier and many others. These days Matthews runs a record company which specialises in re-releasing classic Australian music from the past.

Why are they so legendary? The Aztecs legend began before Sunbury.


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The fan base had already started. We were incredibly loud and just got louder and louder. So a lot of the people at Sunbury were already fans, it just that you had 35, of them in one spot. But also it was the volume. We were certainly the loudest Australian band anyway. The Aztecs were just this loud party band that played rock and roll.

There was no fancy stuff going on, just wore jeans and t-shirts and I think people just loved that. Sunbury was quite special because it was three days and we played twice. Once during the day, the Saturday then at night on Sunday.

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I guess by the Saturday we realised the band was fairly important. Do you think the Sunbury festival had a tangible effect on the local music industry? I think Sunbury was that point in time where everyone went along, not really knowing what to expect but they had a great time. There was just something about it. It was such a new experience for most people.

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There had been the Ourimbah festival prior, but that was small time compared to Sunbury. Thirty five thousand people for 3 days during Australia Day weekend. There was lots of heat, dust. There were kids and dogs and tents. Did the band stay at the festival site? No we stayed at travel lodge.

They had caravans at the back of the site as dressing rooms. Was there a sense of camaraderie with the other bands at Sunbury?

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There was but … The Aztecs … were not so much a hard working band but we worked a lot. We played 4 or 5 gigs every week. Re-releasing a lot of this material I am hearing some of these bands for the first time. Why was it so important to him? I think because he was so new at playing guitar and playing guitar with lots of volume allows you to sort of fluff it without anyone knowing!

You can play things and make a few bum notes but you can cover it up with the feedback and noise. It was our little niche, no one else was doing it. One guy at Sunbury curled up in one. How do you do that? Even Billy would be arrested on stage every second night. The crowd would go berserk.

Bands were dressed nicely in shirts and ties and the record companies would tell you what to wear etc. We are going to wear what we like, play what we want, no record company is going to tell us what to do. It featured international artists such as Mary Hopkin, Tom Paxton and Edison Lighthouse and drew almost 30, people, yet has received little publicity. The weekly magazine was not only responsible for keeping the nation up to date with the latest rock music news, but also featured our first national record chart. Go-Set is also notable for giving a start to rock guru Molly Meldrum, who worked as reporter for the magazine.

Juke was the longest running of the acclaimed rock mags running from until In fact, the idea was so simple that anyone could have done it. In fact the emotion obviously ran so deep, that the band has reformed and is back with a new album. Sadly this time without their dear departed drummer Paul Hester. This was to be no copycat commercial yawn fest for mum and dads. Triple J quickly established itself as an important and influential cog in the the local music industry machinery.

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Within the next 6 months the band exploded and Beatlemania was rife. American promoters were now offering 50 thousand pounds per show, but the deal had already been done and in June the Beatles were in Australia. At the concerts, the band was barely audible above the hysterical cries from the audience. Every band wanted to be the Beatles, and every teen wanted to be in a band. You were all still in your teens and at school. How did you cope with all the success?

It was a time when we were naive and a little oblivious to a lot of those things. We were having a lot of fun and still doing school. But back then, it was exciting. I think we were more entertained by having video games and stuff than the fame. I remember when we toured with Red Hot Chilli Peppers for a couple tours.

At one of the last shows, they organised some strippers to come up onstage which was pretty funny. You have stated in the past that one of your biggest career highlights was playing to , at Rock In Rio in ? That was amazing.


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It is kind of hard to fathom. How do you look back on the time when Daniel got sick around the release of Diorama, because that was quite a significant moment for the band? It was a pretty full on time. It was taking him 20 minutes just to get up and walk from the lounge room to go to the toilet.

He was in a lot of pain and a horrible state. I think taking that time off was a pretty good thing as all three of us went off and did some different things. It gave us a chance to just to step outside of Silverchair for a little awhile. And coming back to do this record, felt like we were all bringing something different back from our different experiences. Yeah, Dan was tossing up the idea of doing a solo record during our extended break. We never had the album in the pipe line until, kind of, when we got together to do Wave Aid.

We were on such a buzz afterwards that it was silly for us not to do another record as Silverchair. We had come so far as a band that it would have been a shame to just put it on the backburner. So we got inspired and got busy.

Dan did a lot of song writing during our time off, so in the process his writing got better and better and especially with this album where it does a lot of genre hop-ing. Dan really made a pretty conscious effort in the whole structure and the way the album was going to flow. What was the process like this time round when it came to making the album? We spent close to two years working on the material for the album.

Dan did a lot of demos with Paul Mac first then we got together as a band to start playing them and went to the Hunter Valley and hired a house there for awhile. It was really cool, we set up in the house and jammed on the music all day long and worked on the new songs. All round it was of the best experiences in making a record for me.

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Then we went to a studio in LA called Seedy Underbelly Studios and spent a fair bit of time there doing all the tracking. Then it went over to Prague where Van Dyke Parks did all the string arrangements on it.

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