Born in Christchurch in 1945, Mike Rudd brought his band, Chants R&B, to Melbourne in 1966. However, the group disbanded shortly thereafter. Rudd then joined forces with singer-songwriter Ross Wilson and guitarist Ross Hannaford in one of Wilson’s early bands, The Party Machine. When The Party Machine dissolved in early 1969, Rudd and Wilson formed Sons of the Vegetal Mother before Rudd left to establish his own progressive rock band, Spectrum, in April 1969. The band featured Rudd on lead vocals, guitar, and harmonica, alongside Bill Putt on bass, Mark Kennedy on drums, and Lee Neale on organ.
Spectrum’s debut single, “I’ll Be Gone,” became an unexpected hit, reaching number one nationally in 1971 according to the Kent Music Report. Despite this success, subsequent singles from Spectrum and its successors, The Indelible Murtceps and Ariel, failed to replicate this achievement.
The Accidental Classic: “I’ll Be Gone”
Recorded at Armstrong Studios in Melbourne in August 1970, “I’ll Be Gone” was not released until January 1971 due to a dispute known as the “Record Ban” between major record labels and commercial radio. Labels demanded payment for airplay, which radio stations resisted until the conflict was resolved in October 1970.
Spectrum had initially entered the studio to record a promotional track for the Launching Place Music Festival. Producer Howard Gable, recognizing potential, encouraged the band to record additional material, leading to the inclusion of “I’ll Be Gone.” Rudd, inspired by Ross Wilson’s enthusiasm, suggested the song, which by then featured a distinctive harmonica melody that contributed to its reflective country-rock appeal.
“The song didn’t actually take very long to write,” Rudd told writer Jeff Jenkins. “But it changed over the period of about a year. Initially, I didn’t have the harmonica in it, and that was a big transition.”
Upon its release, the band was surprised to find the single had been edited and shortened, appearing in mono rather than the original stereo. Rudd later expressed regret over not including the track on Spectrum’s first album, Spectrum Part One, citing a disconnect from mainstream trends.
Melbourne’s Pub Rock Boom: A Double Life
While “I’ll Be Gone” thrived on the charts, Spectrum’s progressive rock style clashed with Melbourne’s burgeoning pub scene. Changes in drinking laws and entertainment regulations had shifted the focus from unlicensed dances to pub gigs, prompting Spectrum to create an alter-ego band, The Indelible Murtceps, to cater to this new audience.
The Murtceps provided a dance-friendly alternative, resonating with younger crowds and allowing Spectrum to pursue more niche concert opportunities. This dual identity allowed the band to navigate the contrasting demands of the music scene during the early days of pub rock, characterized by bands like Billy Thorpe and the Aztecs.
The Legacy of “I’ll Be Gone”
The black-and-white film clip for “I’ll Be Gone,” directed by Chris Löfvén, is considered one of Australia’s first music videos and a significant factor in the song’s success. The clip features Rudd walking along a dirt road, embodying the song’s themes of freedom and movement.
Released during the Vietnam War, “I’ll Be Gone” resonated with young Australians facing conscription through the “Birthday Ballot” lottery. The song’s shuffling tempo and harmonica melody captured the era’s anxieties, leading to its enduring popularity. It remained on the charts for 25 weeks, peaking at number one, and was later recognized by the Australian Performing Rights Association as one of the Top 30 Australian Songs of All Time.
“TV was desperate for clips,” Rudd later remarked, highlighting the clip’s impact on the song’s reach.
Cover versions by artists such as Margrt RoadKnight, Colleen Hewitt, and Manfred Mann’s Earth Band further cemented its legacy. Today, Mike Rudd and Spectrum continue to perform, with Rudd’s recent solo gig in Melbourne showcasing his enduring talent.
The story of Spectrum and “I’ll Be Gone” reflects a unique period in Melbourne’s music history, where the clash between progressive rock and pub culture led to innovative solutions and timeless music.
