My Top 20 favourite Australian songs
and the inherent dangers in making these lists…….
I was recently asked by one of my band mates what my favourite Australian song of all time was. My instinctive answer was twofold - firstly that I couldn’t possibly narrow it down to just one - and secondly, that if you asked me again in a months time, you may well get a different response. That is the inherent nature of all best/greatest/favourite lists. They represent a snapshot in time, a judgement on how you feel about the subject in the moment you put your mind to it.
In thinking further about it, I decided to make a list, a sort of notated playlist. I already have several playlists, on my streaming platform of choice, built around the Australian songs that I love or those I would recommend to an unititiated listener, presumably a friend from another country. I have been an ambassador for Australian music to that particular cohort for many years. So I resolved to curate a Top 10. That turned out to be impossible. I started with a ‘shortlist’ of more than 30 songs and then proceeded to cull it back to 20.
In the process, I set myself some rules and boundaries, one of which was to include only one song from any given artist. There were contenders who could’ve had (in any given moment, of course) have two or even more songs in the list, subject to my mood. This included the Go-Betweens, The Church and even Cold Chisel. I decided not to include any band or artists that may be notionally construed as originating from New Zealand, mostly with the selfish notion that I might perhaps compile that list at another time. This writing caper is a hungry beast and any vaguely credible theme must be preserved at all costs. Thus Crowded House, DD Smash, Split Enz, Straightjacket Fits would miss out (all of whom had songs in contention), as well as Dragon, Mother Goose, Hello Sailor, Mi-Sex, Shihad and The Datsuns, who were never in contention, but might make a strictly NZ list. Then there were those Aussies who were unlucky to just miss out and who might, in another place and time, have made the list - Regurgitator, Paul Kelly (I know, sacrilege), Dan Sultan, Eskimo Joe, Little Red, Jack Ladder, Matt Finish, The Drones, The Whitlam’s and Flash and The Pan, to name just a few. I should also single out John Farnham, who I consider without peer as our all time greatest singer, but while The Voice is a vitally important song within the great Australian Songbook, it didn’t make my top 30.
I carefully chose the word ‘favourite’ - not best, greatest, most influential or any other self important label. I’m not so deluded to believe that my particular taste or favour is worth anything to readers, followers or the artists themselves. It is, in the end, a little bit of harmless self indulgence and, hopefully, a conversation starter. That is, in my view, the value of lists like this. I’m completely open to hearing from readers about where they agree, disagree, or where I may have opened their eyes to something new. Conversely, please point me towards any timeless Aussie classics you think may have snuck under my radar in almost 60 years of listening and absorbing popular music.
The Order
This is where I’ve ‘kicked for touch’. It’s just a step too far to have to grade these songs from top to bottom. Let’s consider them all equal number ones because, at some moment in time, I probably have considered them as my favourite Australian song, even if only for a second. Perhaps that’s a game you can play, dear reader, if you have the time and inclination, to send them back to me in your preferred order. But, for now, I’m going to list them by alphabetical order using the artists first name (and ignoring the ‘The’). So, here we go………..
My Favourite Australian Songs of All Time (Pop/Rock)
Augie March - One Crowded Hour (2006)
This song won the APRA Song of the Year in 2006 and for good reason. I had loved Glenn Richards writing for years, and all of his talents and those of the band coalesced on this tune. The wordplay is masterfully clever, but never comes across as anything but earnest and authentic. I instantly developed a strong, personal connection to the song which remains to this day.
Billy Thorpe - It’s Almost Summer (1975)
Billy Thorpe and The Aztecs had been sitting at the top of Australian rock and roll for years when Billy decided to do a solo album, ultimately titled Million Dollar Bill. The first single was this jazz tinged, yacht rock classic, written by Billy and arranged fairly simply, with just his superb voice, guitar, slide guitar and floating strings. Somehow it rises above the pastiche labels that haunt much of the ‘summer vibe’ music of the period. Or it least it does for me, being a very impressionable 15 year old at the time of its release. If you’ve never read Billy’s autobiographical books, do yourself a favour.
Boom Crash Opera - The Best Thing (1989)
This band had a lot of good singles but I love the dynamics, the positivity, the imagery and the performance of this song. The changes to and from the bridge are exquisite, in my opinion. A great live band too.
The Church - Tantalized (1985)
I’ve been a Church fan ever since they first supported my band, The Radiators, in the pubs and clubs of Sydney around 1980. I could have chosen any number of their songs for this list - Unguarded Moment, Almost With You, Under The Milky Way - but for me Tantalized has a depth and beauty that those others don’t quite capture. By 1985 we were label mates at EMI and I procured a copy of the album Heyday from them while on tour in Melbourne, and it became an instant turntable staple. From memory, Tantalized opened side two on the vinyl version. I think I’ll just let the link above do the talking for me as to the power and intensity of this song, in this instance played live, with the George Ellis orchestra, at the Sydney Opera House, circa 2012 (turn this one up loud).
Cold Chisel - One Long Day (1978)
While I have great respect for Cold Chisel and their achievements, I would not categorise them as one of my favourite bands, yet they had a least two other songs in contention for this list (Forever Now, When The War is Over). Their music now seems timeless and so synonymous with Australia. This is from their self titled debut album, which I first heard when I moved to Sydney in mid 1978 and my new housemate / bandmate had a copy. Written by Don Walker, it is essentially a song of two halves. The first part is a bluesy ode to the daily grind, sung and played superbly by Ian Moss. It then transforms into the second stanza, sung by Jim, which harkens to the direction of later CC songs. I use this song as the classic counter to those that say that Jim is just a screamer, with no dynamics in his voice. Although obviously much younger here, his vocal is beautifully controlled and exudes a sublime timbre.
Dave Graney and the Coral Snakes - Rock ‘n’ Roll is Where I Hide (1995)
Dave Graney had a somewhat unexpected moment in the spotlight when he garnered the ARIA Award for Best Male Artist in 1996, following the release of his album The Soft and Sexy Sound, from which this was the second single. The lyrical concept for the song is offbeat - a rock singer who can, or thinks he can turn invisible to escape any unwanted attention. It is poetic, brilliant, delusional and tragic - all traits that are also synonymous withe the strange world of rock and roll. A simple, spacious arrangement leaves room for Dave to tell his bizarre story, in his half spoken / half croon vocal style. Full of character and originality.
The second single from the classic Doughboy Hollow, the song was written by Ron S Peno and Steve Clark, with Ron essentialy penning a tribute to a friend taken too soon. The contrast between the upbeat, hooky accompaniment and Ron’s yearning, almost melancholic vocal is haunting, yet almost euphoric. Lifted further by Amanda Browns violin hook, the overall effect is moving yet joyous. Change the lyric to BC and sing it at my funeral, please.
The Easybeats - Friday on My Mind (1966)
Friday on My Mind is a bit of a no brainer for just about any list of great Australian songs, but it is also a long time favourite of mind. From those opening guitar notes it just captures your attention and never lets go. The sentiment of working all week and cutting loose on Friday is also quintessentially Australian. Harry Vanda and George Young could almost single handedly own the Great Australian Songbook, but this, for me, is a standout, not least because it is both of its time and ahead of its time.
Frente - I Sit on My Hands (1996)
The opening track from their second album Shape, I could just as easily have substituted it for the superb What’s Come Over Me. Both songs were written by Angie Hart, and while they were thankful for the success and attention, the band were keen to move on from the image created by the cute pop of Accidentally Kelly Street. The song sits in a somewhat moody 6/8 time with a fairly sparse arrangement complimenting deeply personal lyrics. The sound palette toys with psychedelia and echoes another favourite of mine, Divinyls Dear Diary (1985). One of those ones that’s hard to explain why, but it get’s me and I get it. And in case you haven’t heard it, check out their version of New Order’s Bizarre Love Triangle.
The Go Betweens - Apology Accepted (1986)
I had largely ignored The Go Betweens until I heard 16 Lovers Lane and then went on a retro discovery tour, ultimately leading to the classic Liberty Belle and The Black Diamond Express. Even then, it was songs like Spring Rain and Head Full of Steam which initially piqued my interest. My love affair with Apology Accepted started almost three decades later, when my son, Kirin J Callinan, started featuring it in his early solo sets and recorded a version of it on his debut solo EP. I then revisited the original with a new depth of appreciation for the lyric, in particular. Like most Go Between songs it is musically straightforward, which allows the lyric room to take the spotlight. It’s beautifully vague and unresolved, a plaintive cry of uncertainty, lack of confidence, almost despair.
Little Heroes - One Perfect Day (1982)
One Perfect Day is pretty much one perfect pop song, in my humble opinion. In terms of chart success, the band were pretty much a one hit wonder, but I saw them a few times and they were a good outfit. Despite the band emerging out of the hard rock heartland of Newcastle, NSW, composer Roger Hart-Wells had well developed pop sensibilities. It’s testament to the strength of the song that it has been covered numerous times, by artists as diverse as John Farnham, Weddings, Parties, Anything and country singer Sara Storer. The song has personal overtones for me which hit home on every listen.
The Loved Ones - Everlovin’ Man (1966)
The Loved Ones are better known for their signature hit, The Loved One, which was given a second lease of life when INXS covered it in 1981, for their third single. For me though, Everlovin’ Man has a character and charm that resonates deeper. The song is characterised by two key elements. Ian Clynes electric piano moves from an almost pastoral intro run to a vamp which drives the song along. Singer Gerry Humphrys then wails, croons, hollers and screams his way through 2mins and 9secs of 60’s blues pop magic, showcasing his superb range and sublime tone, somewhat reminiscent of Eric Burdon at his best. The band only lasted two years in its original form, but produced so much gold in that short burst of creativity.
The Models pretty much lost me with their breakout album Out of Mind, Out of Sight, but prior to that they made some deeply interesting music. I love Local &/or General. This song was a single from the next record, The Pleasure of Your Company. The writing is credited to all four band members (Sean Kelly, James Freud, Andrew Duffield and Barton Price) but it has keyboard player Duffield’s stamp all over it, with multiple layered synth parts driving the bulk of the arrangement. I read that he said that the genesis of the song came from a largely unsuccessful attempt to play Stevie Wonder’s Superstition. Kelly’s vocal is almost menacing, snarling away with an air of indifference and disappointment. Some interesting production flourishes too, particularly with Bartons drum sounds.
The Panics - Don’t Fight It (2007)
Cruel Guards by The Panics is one of the finest Australian albums ever produced, from start to end. Any of the singles - Cruel Guards, Get Us Home and Don’t Fight It - could have made this list. I chose Don’t Fight It because the lyric speaks to me more directly than the others. The central theme - that, as humans, we tend to fear what we don’t understand - is something I have identified with for much of my adult life. Like every song on this record, the horn and string arrangements are sublime, the vocal delivery is very direct and the song leaves me with an overall feeling of empowerment.
The Reels - Quasimodo’s Dream (1981)
This song went largely under the radar when it was first released, largely failing to trouble the pop charts as a single from the album of the same name, but my band the Radiators were playing quite a few shows with them around the time and I picked up on its understated genius and charm right from my first listen. Written by singer Dave Mason, the lyric is obtuse and abstract, and I don’t pretend to fully understand it. But as listeners, we all apply our own interpretations to lyrics and I have mine for this song. Musically it’s sparsely arranged, shuffling along benignly as the bands typically quirky synth sounds pop and bubble around the groove. The vocal is perfectly delivered - plaintive, gentle and touching. Poignant lyric lines - ‘love won’t annihilate hatred’ and ‘fame won’t alleviate heartache’ that hit the target every time. Given how quirky and unique The Reels were, there is a surprisingly high number of cover versions around, from artists as diverse as Kate Ceberano, The Blackeyed Susans, Tim Rogers (You Am I) and Gotye.
Russell Morris - Wings of an Eagle (1973)
Russells legacy is largely dominated by his classic 1969 psychedelic hit, The Real Thing, but he has a string of career highlights from almost every decade since. Unlike The Real Thing, this song was written by him and its beauty is largely in the soaring vocal performance. The production on the original recording by Peter Dawkins is very much of its time, but it allows the elegance of the vocal and the lyric to shine. The song was introduced to a host of new fans as the lead on the soundtrack to the classic Australian film, The Dish (2000). This song was dominating the airwaves around 1972-73 when I was around 12 years old and really discovering pop and rock music, so the connection for me is partly nostalgic. But nostalgia is a key component in any lasting connection to a song, and I unashamedly embrace the sentimentality of that.
The Saints - Know Your Product (1978)
Around 1977, when I was 17 years old, I was jolted out of my prog rock slumber by the discovery of The Stranglers, Sex Pistols, Ian Dury and others. One of those ‘others’ were The Saints, whose punk rock classic I’m Stranded actually pre dates the Pistols, Clash, Damned and others that the music media broadly proclaim as the grandfathers of punk rock. The Saints didn’t dwell in that mire for too long, their music very quickly evolving and expanding. While Know Your Product has the drive, simplicity and snarl of a great punk song, the cleverly melodic brass hook takes it in another direction altogether, elevating it into a timeless rock classic.
Tex, Don and Charlie - Whenever It Snows (2005)
The Cruel Sea were one of the bands that only just missed the cut for this list, but Tex Perkins has managed to get on it with one of his many other projects, in this case with Tex, Don (Walker) and Charlie (Owen). As Don Walker (Cold Chisel) didn’t write this song, it qualifies under the rule of no artist having more than one song on the list. Whenever It Snows has tinges of folk, country and blues, genres that I didn’t fully appreciate until much later in life. This song is quintessentially Australian, and has the lyrical elements of irony and humour that Tex is so good at, superbly intertwined with sentimentality and romanticism. His vocal is beautifully restrained, while the acoustic, slide guitar, piano and drum backing is tastefully played. A song that conjures a very clear picture of time and place.
This is another of those songs that didn’t fare overly well on the charts as a single, but has, over time, found its way into the psyche of Australian music. Its magic is in the deeply personal longing of the vocal and lyric. Very few writers have the balls to fearlessly point out their long list of character flaws, but that’s essentially what Tim Rogers does here, with all the angst and despair he can muster. Rogers said that he originally wrote the song for country icon Charlie Rich, but he passed away, aged only 62, before he could record it. A beautifully understated arrangement for a band that built it’s reputation on a relentless wall of sound.
So that, folks, is my list, as of this day in October 2026. As I said, ask me again on another day and it would, most likely, differ, though with a few constants.
While the 80’s understandably dominated, with 6 entries, every decade from the 60’s to the 2000’s is represented. I haven’t stopped listening to new music, and there are several songs from the last 10-20 years that were close to the cut, but the primary criteria for me is the emotional connection to time and place that the song evokes, and that is, by nature, more likely to exist in older songs.
If you enjoyed the list or are in total disagreement, let me know on my substack, socials or website. I’m happy to debate the pros and cons of my choices, understanding, of course, that all of it is deeply personal and highly subjective. That is the wonder and magic of music and human connection. It’s personal and individual. No ones choices are more valid than anyone elses, least of all mine.
Be The Sea - October 2026
