Molly Meldrum: Influences

If you grew up in Australia in the mid-’70s to late ’80s, Ian Alexander “Molly” Meldrum was most likely a regular guest in your living room. Every Sunday evening from 1974 to 1987 he hosted Countdown, the long-standing music program that counted among its guests a who’s who of music royalty–from Madonna and Elton John to Iggy Pop and Michael Jackson–and, in the case of Prince Charles, literal royalty. Just as important, though, was the show’s championing of then-up-and-coming Australian talent such as INXS, Uncanny X-Men and AC/DC. A music journalist by trade, Molly is also an accomplished record producer, having worked on hits such as Russell Morris’ “The Real Thing” and Supernaut’s “I Like It Both Ways”. In 1988 he founded Melodian Records, signing artists such as Peter Andre and Indecent Obsession, who dominated the Australian airwaves during that period. In short, Molly Meldrum’s impact on the Australian cultural landscape is difficult to overstate. Here, Molly highlights some of the songs that have inspired him over the years. Russell Morris, “The Real Thing” “That was a long, long journey. I got inspired by a lot of things from George Martin, the producer of The Beatles, and a whole heap of other things, and I just went from idea to idea. Back then, a single would go no longer than two and a half to three minutes, and I added more and more and it ended up being almost a seven-minute record, which was unheard of! When Russell came in, I said, ‘Russell, can you do the “Oo-mow-ma-mow-mow” part on the guitar?’ And then he did it and I went, ‘Fuck the guitar, that should be the words in the song.’ And Russell said, ‘You’re mad, don’t be so silly!’ But that’s how [the lyric] became ‘Oo-mow-ma-mow-mow.’” Tones and I, “Dance Monkey” “I just think it’s a very clever song. It works really well. People listen to it, they instantly like it. You just knew it was going to be a hit.” INXS, “Original Sin” “One of my favourite songs. INXS were a brilliant band and Michael Hutchence was an amazing frontman. They just knew how to do it. Michael and I became really close friends. I admired everything about him–his attitude to people, he was always friendly. He was just a very touching, lovely person.” AC/DC, “It’s a Long Way to the Top (If You Wanna Rock ’N’ Roll)” “One of the best songs ever. With their producers George Young and Harry Vanda–and George, of course, was related to Angus and Malcolm Young–they were just brilliant. They were an absolute must for Countdown. They helped make Countdown, frankly. Bon Scott was amazing. I knew Bon way before AC/DC, when he was in Fraternity, and I admired him as a very accomplished singer.” Kylie Minogue, “Spinning Around” “That song was one of my favourites from the moment I first heard her perform it in London. I was standing with Terry Blamey, Kylie’s manager, and I said, ‘That’s a great song, that should be a single.’ And he said, ‘Are you serious?!’ ‘Yeah, I am!’ I had it spinning around in my head! Kylie is just an amazing person. It was a big moment for Countdown [when she performed debut single ‘Locomotion’]. Countdown wouldn’t have existed a year if it hadn’t been for artists like her doing songs like that.” Baker Boy, “Mr La Di Da Di” “It’s a very clever song from a very accomplished artist. It just is a standout song.” Renée Geyer, “Say I Love You” “That’s a song I produced. To put it mildly, Renee can be quite difficult to work with at times [laughs], and we had our ups and downs. I thought she really should have changed the title of the song. ‘Say I Love You’? I [didn’t] feel very much love, for god’s sake! But it was a big hit for her.” Savage Garden, “I Want You” “Savage Garden were extremely talented. I wish they had gone on and on. Lovely people to work with, and they were extremely nice. This song was unusual but it worked, and the music industry, the world, needed a song like that. And they delivered it.” Kids in the Kitchen, “Something That You Said” “That’s one I helped produce. I remember the look on their faces: ‘Fuck, what have we got ourselves into?’ I just pressed on. [Frontman] Scotty Carne is brilliant. It was a good vibe working with them, it really was. I heard a demo of the song when I was still in America, and I said I really want to help with this. And we got the gig.” The Masters Apprentices, “Elevator Driver” “The whole band was fantastic, but frontman Jim Keays was so talented. And everyone loved him in the industry, and respected him. The Masters came before their time. They really should have made it onto the market in America.” Sia, “Chandelier” “Sia is a very unique artist in her own right. She doesn’t restrict herself by what’s the proper thing to do. She’s got the talent to do it. I just admire her so much.”