As much as a good number of bands and artists aspired to utilise the full potential available to them in the 33⅓ rpm Long Player vinyl album format to express more expansively their creativity and growing musical prowess, the realities of making music in a country with so small a population, of which an even smaller proportion were committed to buying contemporary Australian records, were inevitably constrained by a music industry – record companies, labels major and independent, managers, promoters, booking agents, venues, radio stations – still primarily AM and dependent on advertising revenue – and music television – that was entirely geared towards the promotion of 45 rpm singles – primarily pop, preferably three minutes long – by which the bands and artists they signed could be promoted into “pop/rock stars” who would thereby sell records and make everybody, perhaps even the bands and artists themselves if they were lucky, that most essential of commercial business commodities – money.

Of course, not every musician, band or artist was determined to make art for art’s sake. There were plenty happy to just make a racket – rock, pop or whatever – and enjoy the ride. So denim had given way to satin and scarves as those more prepared to be entertainers got the gigs, the radio and television exposure and the kids got to dance themselves happy.