THE SEEKERS
Australia / UK 1962-68, and later
reunions
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Ken Ray (lead vocals, guitar) 1962
Judith Durham (lead vocals) 1962-68
Athol Guy (double bass, vocals)
Keith Potger (12-string guitar, banjo, vocals)
Bruce Woodley (6-string guitar, mandolin, vocals)
Later members:
Buddy England (vocals, guitar) 1973-77, replaced Bruce Woodley
Lisa Wisseling (vocals) 1973-81
Julie Anthony (vocals) 1989-90
Karen Knowles (vocals) 1990
Peter Robinson (bass, vocals) 1978-81, replaced Athol Guy
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History
Until the mid-60s, only a handful of Aussie and Kiwi popular
entertainers had made their mark internationally. The first local
artist to score a major international hit was probably Slim Dusty,
whose satirical country classic "The Pub With No Beer" topped the UK
charts in early 1959. In 1962-63 Frank Ifield yodelled his way up the
British and American charts with hits including the perennial "I
Remember You". Rolf Harris scored his own 'novelty' hits in the UK,
including "Tie Me Kangaroo Down" (1960), "Six White Boomers" (1963) and the influential "Sun Arise".
But by 1963-64 the twin spearheads of Beat Boom, led by The Beatles,
and the folk movement, led by Bob Dylan, were totally reshaping popular
music, and leaving these earlier performers out in the cold.
Many of the local acts that emerged from these two "new waves"
had high hopes of making it overseas, and many tried. But in the end
only The Easybeats made any significant impression overseas, and even
that was a brief one. While they are justifiably hailed as our most
successful rock group internationally in the ‘60s, even their
proud achievements pale beside the monumental popularity of The Seekers.
Riding with the success of other folk acts Peter Paul
& Mary, they enjoyed colossal success in the UK, Europe and the
USA. The Seekers were far and away Australia's biggest musical export
of the decade and for the better part of two years their success as a
singles band rivalled that of The Beatles and The Rolling Stones. The
Seekers are also a particularly interesting case study for
music historians. They are somtimes marginalised in accounts of
Australian "rock" history because, as Ian McFarlane points out, they
were "too pop to be considered strictly folk and too folk to be rock".
Their popularity crossed all boundaries and their success far
outstripped that of any other Australian group in either field. Today
they remain one of the most enduringly popular and successful
Australian groups of the 20th century.
Here's how the late Lillian
Roxon summed up The Seekers in her famous 1969 Rock
Encyclopedia:
"If there hadn't been The Seekers some
shrewd manager would have invented them. One cuddly girl-next-door type
(complete with nose-crinkling smile) and three sober cats who looked
like bank tellers. They came from Australia, singing nice harmonies for
their supper on a boat bound for England. The English squares liked
them immediately because they represented something they could
understand and feel secure with. As for the rest, well, it was a good
clean sound and the tunes were catchy.
Their sound was, for lack of a better name, pop-folk with the strong
and vibrant voice of Judith Durham giving it definition and added
distinction. They didn't really click in America until 'Georgy Girl'
(done for the film in 1966, which went on to become a White Rock radio
commercial. After that there was success wherever you looked: back in
Australia, where they visited in triumph, in England, with TV show
after TV show, and in America. But by the summer of 1968, inexplicably,
they were tired of it all. They had never meant to stay together, they
said. Durham of the exceptional voice says she'll sing solo. Bruce
Woodley, who wrote 'Red Rubber Ball' with Paul Simon, will probably
come to America to write songs. Their last hit in England was 'The
Carnival Is Over', and it was."
Without devaluing the other members in any way, Roxon and
others understood that The Seekers' secret weapon -- the "powerful,
crystal clear, Joan Baez-like soprano voice" of lead singer Judith
Durham. Instantly recognizable, her precise but emotive tone and
delivery became The Seekers' trademark. When combined with the
harmonies of the three male members and augmented by their clean-cut
good looks, their undeniable talent, and the string of classic pop-folk
songs (many specially written for them by producer Tom Springfield), it
proved an irresistible mixture.
The Seekers were formed by Athol Guy (b. Jan. 5, 1940), Keith
Potger (b. Mar. 2, 1941, Colombo, Sri Lanka), and Bruce Woodley (b.
July 25, 1942), who had all attended Melbourne Boys High School
together. Keith led a rock'n'roll band in the late 1950s called The
Trinamics, doing covers of Buddy Holly, Eddie Cochran etc, while Athol
had led a band called The Ramblers. The breakup of those groups
reunited Potger and Guy with with Woodley. Adding singer Ken Ray, they
formed a doo wop outfit called The Escorts. But they were soon drawn to
the burgeoning folk movement and The Escorts evolved into The Seekers
in 1962.
Later in the year, they met singer Judith Durham (b. July 3,
1943), who worked at the same advertising agency as Athol. Born with
perfect pitch, she orignally planned to sing opera until she was bitten
by the jazz bug in the mid-1950s. By the time she met thol, Judith was
the lead vocalist with top Melbourne jazz band Frank Traynor's Jazz
Preachers, with whom she had recorded an an EPon Melbourne label W&G.
Although her preference was jazz, Judith agreed to try singing
folk music on the nights she wasn't playing jazz gigs. She quickly
became 'the fifth Seeker' and late in the year she replaced Ken Ray as
lead singer and Margret RoadKnight took Judith's place in Frank
Traynor's band. Judith could sing opera, jazz, blues and gospel, and
her soulful and versatile voice gave the group the crucial edge that
soon took them the top of the thriving Melbourne folk scene.
The Seekers' rise to success began in 1963, when
Judith's connections
saw them signed to W&G by staff A&R manager Ron Tudor.
W&G released their debut
album Introducing The Seekers, and in November
their debut single, a version of the perennial "Waltzing Matilda", made
the lower reaches
of the Melbourne Top 40 chart (#37).
Move to UK
Unlike the many pop and rock bands who followed them, the most
interesting feature of The Seekers' career is that they left Australia
before they were nationally famous. But this was not part of any grand
plan, and their success was a mixture of some good planning, lots of
good luck and being in the right place at the right time.
In March 1964, the Sitmar line offered them twelve months'
work entertaining passengers on one of its world cruises. They readily
accepted, since it would enable them to travel to the UK, where they
hoped to get some exposure for their music. Seven weeks later, in early
May, The Seekers landed in the UK. They only intended to stay for a
ten-week working holiday before rejoining the cruise, but fate decreed
otherwise. They had wisely sent some of their records ahead of them to
London agencies, hoping it might lead to some work when they got to
England. When they arrived they found that leading London agency, The
Grade Organisation willing to represent them, and Grade staff agent
Eddie Jarrett already had gigs lined up for them.
Meeting Jarrett was the turning point. In quick succession,
they played a series of well-placed London gigs, and scored a UK
recording deal with the World Record Club (the mail-order division of
EMI Records). The cruise plans were abandoned, and The Seekers cut
their first UK single, the infectious, calypso-flavoured "Myra", which
came out on the independent Oriole label, quickly followed by two
albums for the World Record Club, The Seekers and Hide
and Seekers. In another vital break (thanks to Eddie Jarrett)
they scored regular appearances on British television shows, including The
Ronnie Carroll Show and a spot on the prestigious Sunday
Night at the London Palladium.
But the crucial break came when Jarratt introduced them to
singer-songwriter-producer Tom Springfield. Tom's real name was Dion
O'Brien, and he was the brother of singer Mary OBrien, better known as
Dusty Springfield. Tom and Dusty had been two-thirds of the popular
British folk trio The Springfields, which had only recently broken up.
Dusty had quit to launch her solo career and pursue her love of
R&B, and she had scored a British smash-hit with her debut
single "I Only Want To Be With You" just weeks before The Seekers
arrived in London.
Tom Springfield immediately saw that The Seekers offered him
the chance to continue and expand on the kind of music he'd done with
The Springfields, so he and Jarratt formed an independent production
company, signed The Seekers to it, and Springfield became their
resident producer and songwriter. This meeting was perfect timing for
both parties. Despite their talent, its unlikely that The Seekers'
would have been anything like as successful without Springfield's
tutelage (and his songs) but its equally true that the group provided
Springfield with the ideal vehicle for his songwriting and production
talents. Another powerful attraction was that the relatively
inexperienced Seekers would have been far more malleable than Toms
famously feisty sister –- Dusty's impatience with Tom's
dominance over The Springfields and her desire have complete control
over her music were the main causes of their split.
International breakthrough
The final piece fell into place when The Seekers snagged a
recording contract with EMI's Columbia
label. With the
world's biggest recording company now behind them, the first chart
breakthrough came within months. In November Tom Springfields "I'll
Never Find Another You" shot to #1 in Australia and the UK, and #4 in
the USA. It went on to sell 1.75 million copies worldwide, earning them
a place in the record books as the first Australian pop group to have a
Top 5 hit in all three countries simultaneously, and the first to sell
over a million copies of a single. This was quickly followed by another
Springfield-penned smash, "A World of Our Own", which went to #2 in
Australia, #3 in the UK and #19 in the USA during April 1965. Reaching
another milestone, The Seekers appeared on The Ed Sullivan
Show, and then returned to Australia to tour with The Dave
Clark Five. The album A World of Our Own reached #5
on the UK charts in July. This was issued as The Seekers
in Australia.
The next single "Morningtown Ride" reached #8 in Australia and
#44 in the USA in August 1965. The Seekers re-recorded it in 1966 for
the UK market, and it reached #2 there in November. Yet another
Springfield classic, the elegiac "The Carnival is Over" took The
Seekers to #1 during November 1965 in both Australia and the UK, where
it knocked The Rolling Stones' "Get Off My Cloud" from the top spot,
reputedly selling over 90,000 copies per day. Springfield had lifted
the melody from a Russian folk song called "Stenjka Razin". It has
since become the group's most celebrated and popular song. (Dusty
followed a similar pattern when she made an English adaptation of an
Italian pop song that become her hit "You Dont Have to Say You Love
Me".)
The Seekers returned to Australia in February 1966 for
triumphant concert tour. During 1965 they had met American folk
musician Paul Simon, who was then living and working in London, and
this led to another fruitful collaboration. They recorded a cover of
Simon's "Someday, Oneday", which reached #4 in Australia in March
‘66 and #11 in the UK. This was Simon's first British success
as a writer, and his first hit as a composer outside of his work with
Simon & Garfunkel. Woodley also co-wrote "Red Rubber Ball" with
Simon, which The Seekers included on their second UK Top 10 album Come
The Day and US band The Cyrkle later enjoyed a #1 American
hit with it. Their last single for 1966 single, Springfield's "Walk
with Me" took The Seekers to #10 in the UK and #31 in Australia in
October.
In January 1967 The Seekers achievements were recognised at
the highest level in their homeland when they were named Australians of
the Year, becoming the first popular musicians to be so honoured. Their
next single, "Georgy Girl" became the biggest hit of their career.
Co-written by
Tom Springfield and actor-composer Jim Dale (who later wrote the
musical Barnum), it was #1 in Australia, #3 in the
UK and gave The Seekers their first and only US #1 in February 1967.
Written as the theme song to Silvio Narizzano's feature film Georgy
Girl starring Lynn Redgrave, James Mason and Alan Bates, it
was a huge success, selling a staggering 3.5 million copies worldwide.
With the addition of this new hit, EMI released a US version of the Come
The Day album, renamed Georgy Girl.
Bruce Elder has called this “probably the best of all their
LPs,
containing a stunning array of originals by Springfield and Woodley,
and superb covers of songs such as Tom Paxton's The Last
Thing On My Mind.'
Ironically, "Georgy Girl" was also The Seekers' last US hit,
and it marked the start of a rapid decline in popularity in the US.
Only months later, the American music scene underwent a cataclysmic
change, precipitated by the Monterey Pop Festival and the so-called
'Summer Of Love' in San Francisco. As a new wave of bands burst onto
the scene, audience tastes – and record company priorities --
shifted dramatically, prompting even old folkies like The Mamas
& The Papas hastily reinvent themselves as psychedelic
minstrels.
Measured
against emerging acts like Jimi Hendrix, Janis
Joplin and The Jefferson Airplane, The Seekers' squeaky clean image and
upbeat sound was starting to seem rather 'square'. In America it's
fair to say that much of their audience was lured away by newer acts
like The Mamas And The Papas, whose bohemian aura
contrasted with The Seekers' clean-cut style, although the
similarities in sound were probably not coicidental and in Cass Elliott
they possesed a voice that was arguably one of the few the equal of
Durham's and group leader John Phillips had LA's best sessioneers at
his disposal for their recordings.
The Seekers
also -– for the first time, it seems -– missed some
crucial career opportunities. According to Bruce Elder, they
were offered the chance to perform at the 1967 Academy Awards, which by
this time were being televised internationally, but previous
commitments in the UK clashed with the Oscars, so the group turned it
down.
But at home and in Britain, their success rolled on. In March
they set a new Australian concert record when they performed a
20-minute set before an estimated crowd of 200,000 people at the Moomba
concert at the Myer Music Bowl in Melbourne. They filmed two hugely
successful television specials during the year, The World Of
The Seekers and The Seekers Down Under.
According the book The Real Thing, the latter still
holds the record as the highest rating TV special ever screened in
Australia.
The late Sixties
Inevitably, with such enormous success, tensions within the
band grew, and it has been reported that Judith Durham
in particular felt that her musical contributions were being
undervalued.
Ironically, this was the opposite problem to that normally faced by the
lead singer, who conventionally tends to dominate media attention, but
given that this lead singer was a woman in an industry dominated by
men, its not really so surprising. In the middle of ‘67 she
gave the first signal of the her growing restlessness by releasing her
debut solo single The Olive Tree, which reached a
respectable #33 on the UK chart in June 1967.
In July, they traveled to America and with fellow Aussies like
with Rolf Harris and Normie Rowe they appeared in a special concert,
broadcast internationally via satellite from Expo 67 in Montreal. And
the hits just kept on coming -- "On the Other Side" reached #19 in
Australia in October, followed by "When Will The Good Apples Fall?"
(Australia #35, UK #11) in November, and "Emerald City" (Australia #28,
UK #50) in December. The song was co-credited to the legendary Kim
Fowley (who later masterminded The Runaways) and 'John
Martin'.
Years later it was revealed that John Martin was actually
Keith
Potger, who had used the pseudonym to avoid causing friction within the
band. The Seekers returned to Australia for another national tour in
December 1967, following their successful North American jaunt.
After
the release of "Emerald City" and the Seekers Seen in Green
album, EMI UK issued Judith's second solo single, "Again and Again" /
"Memories", but by the start of 1968 Durham had definitely decided to
leave the band. The four had agreed that they would give the others six
months' notice if any of them decided to leave, so she told them she
wanted to go. The Seekers recorded a final single, "Days of My Life"
(April 1968) produced by famed British independent producer Mickie
Most, who was behind some of the biggest British hits of the 60s
including The Animals, The Yardbirds, Donovan, Lulu, Herman's Hermits
and many others. Ironically, despite the track record of both parties,
it proved to be the least successful single of the group's career!
Their final album, Live at The Talk of the Town
fared much better, reaching #2 in the UK in September. Their BBC-TV
special, Farewell The Seekers, also attracted a
huge audience.
In a fitting farewell, they capped their amazing six-year
career with the release of The Best of The Seekers
which reached #1 in Britain in November 1968, knocking The Beatles
"White Album" from the top position, and it stayed on the British
charts for an incredible 125 weeks.
"Never say never again": the
Seventies and beyond
Following the break-up of The Seekers in July 1968, Bruce
Woodley returned to Australia to concentrate on songwriting. He began
collaborating with up-and-coming singer-songwriter Hans Poulsen, with
whom he co-wrote "Monty and Me" for Zoot
and Hans' 1970 hit "Boom Sha La La Lo". In 1971, Bruce cut an album for
RCA called Just Good Friends,
and contributed four songs to the soundtrack of Tim Burstall's surf
film Getting Back To Nothing,
with other tracks provided by Billy Green and Hans Poulsen; Bruce and
Hans collaborated on several songs in this period, including
Hans' breakthrough hit "Boom Sha La La Lo". Athol formed a
marketing and promotions company in Australia and in 1973 he moved into
politics with his election to the NSW state parliament as a Liberal MLC.
Keith stayed in the UK, where he formed and managed The New
Seekers, although he only only performed publicly with them for a short
time and later handed over their management to others. His only hit
with the group was "Look What They Done to My Song, Ma" (UK #44 in
October 1970), a cover of the Melanie Safka original. Not long after,
several other founding members left the band and among the replacements
was Australian singer Peter Doyle
(1970-73) who had travelled to the UK in 1969 as a member of The Virgil
Brothers. The New Seekers went on to a string of worldwide M.O.R. hits
including "Never Ending Song of Love", "You Won't Find Another Fool
Like Me" and "I'd Like to Teach the World to Sing", which was
originally written as a Coca-Cola jingle.
Judith launched her post-Seekers career in 1969 and it was at
this time that she met musician and arranger Ron Edgeworth and he
became her musical director. The two were soon drawn together
romantically and in late 1969 they married. Soon after, Judith (now
emphatically using her full name, rather than the diminutive, 'Judy')
released her first solo LP For Christmas with Love, followed by A Gift
of Song and the singles "The Light is Dark Enough" and "Let Me Find
Love" in early 1970. The album and single "Climb Ev'ry Mountain" were
released in 1971. Durham then returned to her first loves, jazz, and
blues, and with Edgeworth she formed The Hottest Band in Town. Her
fourth solo album, Judith Durham and the Hottest Band in Town and the
single "I Wanna Dance to Your Music", came out in 1973, followed by
Judith Durham and the Hottest Band in Town II in 1974 and an Australian
national tour in January 1975.
It's a great Aussie tradition, and as the saying goes, The
Seekers have had 'more comebacks than Nellie Melba'. Around 1972 Bruce,
Keith and Athol began planning a new incarnation of the band. '60s
popster and Go!! Show regular,
singer-songwriter-producer Buddy
England was a friend of the group and he became closely
involved in the reformation:
Buddy: "When they planned to reformed in
1972-3, I was asked by Athol to help find a suitable female vocalist to
replace Judith. After some time looking and listening I came across
Louisa Wisseling at a restaurant/club called The Swagman ... took Athol
to have a listen ... made Louisa an offer and there you are. I was also
asked to vet material for the group to record their return CD and also
to write the charts for the vocals as well as the charts for the
orchestrations. I signed them to the Astor
label, then went to England to work on the production with the rest of
the guys. The album was a success. Bruce left a year later and I joined
the group. I stayed with them until 1981. This was about the time the
group folded ...again until they reformed a few years later."
Against the odds, the "Mark II" Seekers jumped straight back
into the Australian charts with Woodley's "Sparrow Song" (#2 in June
1975) and the album The Seekers (#17 in July). In September 1975, they
undertook a national tour and released three subsequent singles:
"Reunion" (October), "Where in the World?" (April 1976) and "Giving and
Taking" (June '76). Bruce Woodley left in June 1977 to concentrate on
songwriting and production, at which point Buddy took over, remaining
with them until the groups split again. Athol quit in 1978, replaced by
another veteran of the Melbourne '60s scene, Peter Robinson (ex The
Thunderbirds, The
Strangers). This version of The Seekers released one album, All Over the World
in November 1978 and continued performing in Australia and overseas
until 1981.
Almost a decade of silence followed, but Bruce, Athol and
Keith re-emerged in 1989 and delighted fans by announcing a second
reformation of The Seekers, but this time they surprised everyone by
choosing Julie Anthony as the new lead singer. They toured
successfully, recording The Seekers Live later in the year. The new
Seekers delighted both Seekers and Anthony fans, but it was apparently
not a perfect match, and Julie quit in June 1990. She was briefly
replaced by former Young Talent Time star Karen Knowles before the band
again closed up shop.
Meanwhile, Durham had been splitting her time between the UK
and Australia, but she returned home for good in 1977. Festival issued
a new single, "I Love You" later in the year. In 1978 Durham and
Edgeworth went to New York to play at they appeared at the prestigious
Newport Jazz Festival and the live recording of this performance was
included on their Hot Jazz Duo album in April 1981. For most of the
1980s, Durham toured internationally, but played at home only
infrequently.
In May 1990, after an Australian tour, Durham and Edgeworth
were badly injured in a car accident outside Melbourne, which put
Judith out of action for over a year. She returned to recording and
performance in late 1991 and Polygram issued her new single,
"Australia, Land of Today" in January 1992. To mark the opening of the
Melbourne Cricket Ground's Great Southern Stand later that year, Judith
performed the song before 100,000 people at the World Cup Cricket
final.
To mark the thirtieth anniversary of their formation, Durham,
Potger, Woodley and Guy ended years of speculation and buried the
hatchet by reforming the 'classic' Seekers lineup in late 1992. Now
co-billed as 'Judith Durham: The Seekers' the group recorded two new
songs, Woodley's "Keep a Dream in Your Pocket" and the Judith
Durham-Johnny Young collaboration "One World Love", to promote the
release of their latest 'Best of' collection, The Silver Jubilee Album.
"Keep a Dream in Your Pocket" came out as a single in April, and at the
end of the month, they kicked off their wildly successful 'Judith
Durham: The Seekers Silver Jubilee Reunion Tour' in Australia and New
Zealand. The Silver
Jubilee Album peaked at #3 on the national chart in May
1993, eventually selling an extraordinary 140,000 copies (double
platinum), making it the third highest selling Australian album that
year, behind Jimmy Barnes' Heat
and John Farnham's Then
Again. It also sold double platinum in New Zealand and did
similar business in the UK (where it was issued under the title A Carnival of Hits),
and it reached #4 on the British charts, proving once again the group'
enduring popularity.
During April 1994, Judith Durham: The Seekers performed two
sell-out concerts at the Royal Albert Hall, and they returned in 1995
for a full-scale British tour. On the back of the reunion, Judith's
seventh solo album, Let
Me Find Love, made the Australian Top 10 in May 1995.
In early 1997, amidst a flurry of media attention, The Seekers
signed a new deal with EMI Australia, which claimed to be the most
lucrative domestic recording contract ever, with each member reportedly
paid $1 million each for a two-album deal. The Seekers' new CD single,
"Far Shore" came out in March 1997, followed by two comprehensive
boxed-sets, The Seekers
Complete (five CDs, 126 songs, including live tracks,
rarities and previously unreleased material) and Treasure Chest
(three CDs, including the Seekers Seen
in Green and Live
at The Talk of the Town albums, plus the "Far Shore"
single and groups interviews).
In May 1997, Judith, Russell Hitchcock (Air Supply) and
Mandawuy Yunupingu (Yothu Yindi) collaborated on the Bruce Woodley-Dobe
Newton single "I Am Australian", which was also used in an extensive
government media campaign and reached #17 on the national chart in
June. The next month Judith's ninth solo album, Always There was
released.
Judith Durham: The Seekers' new album, Future Road,
produced by Charles Fisher (Savage Garden), came out in October 1997.
It reached #13 on the national chart, and by the end of the year had
achieved platinum status with over 70,000 copies sold. A second single,
"Calling Me Home" was released in October but evidently did not chart.
The band went quiet again until March 2000, when EMI released
an album and video of The Seekers 1968 BBC Farewell Spectacular. The
video and audio tapes of the event, long presumed to have been
lost, were rediscovered in the late 1990s. This historic TV performance
was the group's farewell special for British TV, recorded in London and
broadcast to an audience of over 10 million viewers. Proving The Seekers'
enduring popularity, this recording of the 30-year-old concert reached
#12 on the Australian chart, and sold over 35,000 copies. To promote
it, The Seekers reunited for 'The Carnival of Hits Tour' in Australia
and the UK in early 2000. These were -- supposedly -- their last concerts
ever,
with the farewell shows played at the Melbourne Concert Hall in April.
According to a press release: "The band themselves want it to be made
perfectly clear that these really will be the last times they play
together."
But The Seekers once more proved the truth of the old adage
"never say 'never again'". After much speculation (and a delightful
send-up of the coming event by ABC TVs Olympic satire The Games) The
Seekers reunited one last time for the closing ceremony of the Sydney
2000 Paralympic Games on 29 October 2000, with a performance of "The
Carnival Is Over". They were apparently approached to perform at the
closing ceremony of the main games, but unfortunately an injury to
Judith Durham (a broken hip) made this impossible, so the band
performed at the Paralympics instead, with Judith singing from a
wheelchair.
In possibly their very last engagement (well, maybe...) The
Seekers reportedly played a one-off concert in Geelong, Victoria in
February 2001.
Discography
There have been scores of Seekers compilations over the years,
and they are probably the most anthologized of all Australian music groups.
Information on the complete Seekers catalogue can be found on any of
the Seekers fan sites and from commercial sites like CD-Now and the All Music Guide.
A comprehensive Seekers international discography compiled by Dave Farmer can be found on the "World of The Seekers" website:
http://www.telinco.com/seekers/Seekers_Discography.htm
References / Links
Ian McFarlane
Australian Encyclopedia
of Rock & Pop (Allen
& Unwin, 1999)
Noel McGrath
Encyclopedia of
Australian Rock (Outback Press, 1978)
Chris Spencer,
Zbig Nowara
& Paul McHenry
Who's Who of Australian
Rock (Five Mile Press, 2002)
Judith Durham
official website
http://www.judithdurham.com/
Artists Business
- A Vibrant Life - Keith Potger
http://www.artistsbusiness.info/index.htm
Wikipedia: The Seekers
http://en.wikipedia.org/wiki/The_Seekers
Wikipedia: Bruce Woodley
http://en.wikipedia.org/wiki/Bruce_Woodley
All Music Guide: THe Seekers
http://wm08.allmusic.com/cg/amg.dll?p=amg&sql=11:wifixqr5ldke~T1
Lyn
Paul website: Keith Potger
http://www.lynpaulwebsite.org/NS-Potger.htm
The Seekers Home
Page
http://www.geocities.com/SunsetStrip/alley/4567/
The World of The
Seekers
http://www.telinco.com/seekers/
Long Way to the
Top: The Seekers
http://www.abc.net.au/longway/artist_index/seekers.htm