The Masters Apprentices

(L to R: Mick Bower, Rick Morrison, Graham Longley (manager), Gavin Webb, Brian Vaughton and Jim Keays)The Mustangs were a surf music band formed in 1964 in Adelaide, featuring Mick Bower (rhythm guitar), Rick Morrison (lead guitar), Brian Vaughton (drums), and Gavin Webb (bass guitar). Initially, they performed covers of songs by the Shadows and the Ventures. Their music was heavily influenced by The Beatles' Australian tour in June 1964, which left a significant mark on the local music scene. After The Beatles' tour, the Mustangs adopted a new style and added Scottish immigrant Jim Keays as their lead singer. They began to produce original songs in a beat style and gained popularity by performing at dance venues catering to local teenagers, particularly UK migrants. In late 1965, they rebranded as "The Masters Apprentices," with Bower stating they were apprentices to blues legends like Chuck Berry and Jimmy Reed. By early 1966, they became a leading beat band in Adelaide, often selling out concerts and appearing on TV. They entered Hoadley's Battle of the Sounds, finishing third. Their big break came when pop star Bobby Bright recommended them to Astor Records, leading to a recording session where they wrote "Undecided" in a short time. Released in October 1966, "Undecided" and its B-side "Wars or Hands of Time" received airplay and climbed the charts. The latter was notable for addressing the Vietnam War, which resonated with many young Australians facing conscription. After a successful showcase in Melbourne, DJ Stan Rofe praised them, comparing their impact to that of The Rolling Stones and The Doors. The band continued to promote their music on various TV shows and solidified their place in the Australian rock scene.​In February 1967, The Masters Apprentices relocated to Melbourne, with Steve Hopgood replacing original drummer Vaughton. Their single "Undecided" quickly climbed the Melbourne charts, peaking at No. 9 locally and No. 13 nationally in April. The band became a top attraction in Melbourne, performing regularly at venues like Catcher and Sebastian's, though they struggled financially during their first year, relying on the kindness of fans. In May, they released their second single, "Buried and Dead," accompanied by a self-funded promotional film clip, one of Australia’s first pop music videos. The band made their Sydney debut on the TCN-9 pop show Saturday Date, experiencing overwhelming fan excitement. Their self-titled debut album, released in June, showcased earlier singles and included several originals, a cover of Bo Diddley's "Dancing Girl," and The Beatles' "I Feel Fine." By late 1967, the band drew from the emerging psychedelic scene, as evident in Bower's "Living in a Child's Dream," released in August. This single reached the Top Ten in most Australian capitals and won Australian Song of the Year by Go-Set readers. As the band gained teen idol status, lead guitarist Rick Morrison was forced to leave due to health issues, with Tony Summers stepping in. Despite touring intensely, the band faced personal challenges, particularly with Bower's severe nervous breakdown in September, which led to his departure. He was instrumental in their success, having written or co-written all their singles and original tracks. After Bower's exit, Keays took the lead, bringing in guitarist Rick Harrison as a replacement. On October 14, they performed at a free concert in Sydney's Hyde Park during the Waratah Spring Festival, attended by 50,000 fans. The concert ended in chaos, prompting police intervention, while the band members fled towards Kings Cross, still reeling from the day's events.​The newest member, Harrison, quit immediately after the concerts, leading the band to recruit lead guitarist Peter Tilbrook from Adelaide's The Bentbeaks, known for their banned single "Caught Red Handed." Shortly after, Keays experimented with LSD, and the band, under pressure from Astor for a new single, collaborated with Brian Cadd of The Groop, resulting in "Elevator Driver," released in February 1968. As 1967 ended, the band faced a critical point due to a lack of songwriters, leading Keays to replace drummer Steve Hopgood, lead guitarist Tony Sommers, and their second manager, Tony Dickstein. In Sydney, Keays discovered brothers Denny and Colin Burgess, who joined the band, revitalizing its sound. Doug Ford, an innovative guitarist from The Missing Links, was brought in, further strengthening their lineup and enabling a shift from pop to rock. "Elevator Driver" became a Top 30 hit, fueling their resurgence. In April 1968, bassist Gavin Webb left due to health issues. Keays initially sought Beeb Birtles of Zoot but turned to Glenn Wheatley, who joined on guitar as Tilbrook switched to bass. The band opted to leave Astor for EMI, and their single "Brigette," inspired by Donovan's "Mellow Yellow," marked their new direction, gaining a place in the Top 40. In 1968, they were recognized as the 'Most Original Group' in the Go-Set Pop Poll and placed second for 'Most Popular Australian Group.' After winning local heats in the Hoadley's Battle of the Sounds, they were offered a working trip to the UK in exchange for performances.​The 'bad-boy' image of The Masters Apprentices hindered Sambell's attempts to market them as a wholesome teen band. Following a controversial interview, threats of violence emerged, and the press labeled them "sex maniacs," while graffiti reading "Band Moll's Paradise" appeared outside Keays' flat. Despite these challenges, the band continued performing and recorded their first EMI single in late 1968, which was only released in early 1969. Astor also released "But One Day," an old track, in August 1968. With a grueling touring schedule, including three shows a night on weekends, tensions escalated, particularly after Tilbrook's departure in December 1968 led Wheatley to switch to bass guitar. A communication mishap with Sitmar resulted in the band missing out on a cruise job, deepening their frustrations with Sambell, who ultimately had to leave. In 1969, a new lineup revitalised the group, and the songwriting duo of Ford and Keays flourished. Their debut EMI single, "Linda Linda," released in March, marked a turning point, gaining radio airplay and reviving their popularity. They turned down TV appearances to avoid overexposure, but still drew massive crowds, especially at the Moomba concert. "5:10 Man," released in July, peaked at No. 16 and established a string of Top 20 hits. Despite losing the Hoadley's Battle of the Sounds, they gained recognition and embarked on the Operation Starlift Tour, which, although financially challenging, enhanced their promotional success, culminating in a record-breaking concert in Brisbane.​In early 1970, the band parted ways with Sambell and established their own booking agency, Drum, operating from a terrace house office in Carlton. Initially managing their own gigs, Drum quickly took on additional acts including The Sect, Ash, and Tamam Shud, and promoted tours for international artists like The Four Tops and Paul Jones. The Masters Apprentices released their delayed second LP, *Masterpiece*, in February, showcasing a diverse range of styles and featuring singles like "Linda Linda" and "5:10 Man." The album, while eclectic, demonstrated their growing proficiency with the LP format and included interconnected tracks through brief guitar-and-string arrangements. A live recording of the title track captured the band's energy from 1968, and they also included their version of "St John's Wood." In April 1970, EMI released "Turn Up Your Radio,". The song aimed to shatter their teenybopper image and climbed to No. 7 nationally despite limited radio play, just before a significant radio ban on major-label releases began. ​Determined to break into the UK market, the band embarked on a national farewell tour before departing for the UK on 25 May 1970 aboard the Fairsky, leaving their agency in the hands of Adrian Barker. The six-week voyage allowed them to write and rehearse new material. Upon arriving in London in July, they entered a creative period, engaging with the local music scene and making connections with fellow Australian expatriates. Wheatley contacted EMI London, where he met Trudy Green, who secured producer Jeff Jarratt’s interest in the band. This led to a recording deal, allowing them the opportunity to record at the iconic Abbey Road Studios. Just before beginning recording in September for their album 'Choice Cuts', Keays learned of Jimi Hendrix's death while in Copenhagen. Upon returning, he and Ford wrote "Song for a Lost Gypsy" to add to their repertoire. The sessions, characterised by superior facilities and diverse influences ranging from Hendrix to Donovan, included collaborations with outside musicians and even featured Paul McCartney's grand piano on select tracks. When they found themselves a song short, they quickly penned "Rio de Camero," which became the album's opening track. The album was recorded, mixed, and mastered in just a month, with "Because I Love You" chosen as the lead single, expressing themes of love and independence.​The Masters Apprentices began their national tour in Perth in January 1971, with Howard Gable recording their first show at the Nickelodeon Theatre using portable four-track equipment. Despite being tired and under-rehearsed, these recordings became their live LP, 'Nickelodeon', which is regarded as one of the first live rock albums recorded in Australia. In 1970, they had topped the Go-Set Pop Poll and achieved hits with their singles. However, by 1971, they struggled to reclaim their previous popularity. A significant performance at Chequers in Sydney helped reignite their momentum, complemented by a profile in POL magazine by journalist Howard Lindley, who became an ardent supporter and worked on a film about the band. Tragically, the project stalled after Lindley’s suicide, leaving only fragments of footage. During their February 1971 tour, they released "I’m Your Satisfier" and later 'Choice Cuts', which received widespread acclaim and reached #11 on the Go-Set Top 20 Album Charts. They made several TV appearances, including a set for ABC's GTK, featuring "Future of Our Nation". ​In May, they learned from John Halsall in London that 'Choice Cuts' was well-received in the UK, leading them to plan a return trip to record a new album, with EMI agreeing to finance it. Upon arriving in the UK, their momentum had faded, but a new label, Bronze, approached them, prompting the band to leverage this for a better deal from EMI. However, EMI offered only a $1,000 advance, leading the band to decline Bronze's offer, a decision Keays later regretted. In September 1971, the band recorded their new album, 'A Toast to Panama Red', at Abbey Road Studios, alongside John Lennon’s 'Plastic Ono Band'. The album featured a children's choir conducted by George Martin, but its lurid cover—designed by Keays as a critique of the UK—received mixed reactions and hindered sales. Though the album was well-reviewed in the UK, EMI Australia provided little promotion. Despite contrasting recollections of the recording sessions, tensions were high, and Wheatley, struggling with personal issues, contributed less, leading to some parts being filled by Ford. 'A Toast to Panama Red' was released in January 1972, followed by the single "Love Is" in February. The classic line-up's last recording was the poignant closing track, "Thyme To Rhyme".Keays died from pneumonia related to multiple myeloma on 13 June 2014. As of 2014, the band continues in their original five-piece format featuring original members Mick Bower, Brian Vaughton, Gavin Webb and Rick Harrison along with bassist Bill Harrod and lead singer Craig Holden. Dan Matejcic replaced Rick Harrison on guitar in December 2023. Their bassist and founding member Gavin Webb, died on 16 April 2024 after a cancer battle. ​