IN THE BEGINNING : Part One 

John “Swanee” Swan is a tower of power... a survivor. One of John's greatest legacies, is a hallmark of his dedication to a generational seismic shift in Australia's rock n roll society. John was a 302 6 cylinder engine that marked the start of something new.

Australian live music was known locally - and to the world as “Pub Rock”- for a decade from 1974 to 1984. Over these 10 years, Australia had a live scene second to none. “Pub Rock “ was raw and uncompromising, a world of blood and guts, a human powder keg of caterwauling summoned by outlaws with a vocal raw throated call to arms. These Rock 'N' Roll pioneers created seismic fault lines in Australia’s youth, and the culture of the times was about to be written by hard living wild boys , an entertainment scene of chaos and unpredictability had arrived . 

Australian music was now wild and dangerous, a visceral attack and a kick in the guts, and a blue collar musical soundtrack was unleashed and.... John Swan was one of the original commanders that headed the charge .

1000’s of musicians and bands pushed up between the cracks and crevices, these subterranean creatures hiding below the surface reached up and hit daylight . These trailblazers packed a punch in keeping with Australia’s egalitarian ethos. This was the music for salt of the earth suburban Joes. This sound was the unwashed fuel to be seen and heard. Australia’s young men and women crammed into clubs and pubs, some performance spaces held hundreds, other venues held thousands . 

Sweat soaked fans, singing and dancing into a mass of gyrating greasy bodies created their own indoor weather system. Condensations of sweat would reach the ceiling and the perspiration rained down on bands, instruments, everything, and everyone.....and it was great. 

Venues such as the fierce Comb and Cutter and Parramatta Leagues Club, the Stagedoor Tavern and The Manly Vale Hotel embraced this growing movement, and this was just in Sydney... Large stages and rooms played host to a musical uprising and John Swan, renowned as a tough, no-nonsense performer and a recognisable face of blood and guts rock took his place as one of key lightning rods. John became a regular at the famous Bondi Lifesaver and would belt out a set, then raid the kitchen and cook up a storm to feed the bands , crew and various entourages.

John played the notorious Manzil Room situated in the heart of Sydney’s red light district Kings Cross. John, along with Rose Tattoo made the dark and dingy hole in the wall a nightclub, a stomping ground that was so menacing it would be a low rent house of horrors that would be better suited to Mexican Cartel Cock Fighting than Rock N Roll. This room of mirrors was also the setting that hosted the rise of early AC/DC a band who John was as close to as anyone.

The inner city venues continued to spring up old rooms that once played host to local dances in the 1950’s. Once abandoned, they were now transformed into big rock barns. These locales would echo a cataclysmic suburban wall of sound from the inner city to the suburbs. Other Australian cities like Melbourne, Adelaide and Perth nurtured a vibrant and much loved community. Regional areas like Wagga Wagga, Doyalson and Newcastle and many other interstate towns began to pile young patrons into beer halls and bar rooms . These music venues had carpets of quicksand, and a thick haze of cigarette smoke that would fog up these stink ridden chambers and caves.

This was a time when alcohol was considered a health food. Fans bought overflowing frothy jugs of beer. Along with them you'd have a mob of bourbon and whisky drinkers who guzzled huge quantities of spirits and would sweat into a two hour musical coma, only sobering up when the taxi driver pulled in to the nearest hamburger joint where you’d eat like you were on death row devouring your last meal.

Once you finished gorging with beetroot juice running down your chin, you’d be thrown out of a cab and stumble into a bedroom spinning as you nodded o into the sleep of the dead. When you awoke, the stamp on your inside wrist was like a well travelled passport you would look down at, while couch surfing at your mates place. Nobody paid the rent but beer was crucial.

Swanee was up to his eyeballs in the rank and file pub movement. John had more stories than Walt Disney and he was not to be messed with. A man who at the time would happily drink from the skulls of his enemies. Taking no prisoners, John lauded over the dark and noisy as one of the Gate Keepers of Rock n Rolls' primal scream.

He held court with musicians who were so tough they wiped their dirty bums with cactuses and who chain smoked cigarettes while submerged in crocodile infested swamp lands. Backstage, Aussie rockers were buzzing round like flies in a jar. Nobody bathed scared they’d nod o and wake up to discover someone had harvested their organs. The sound of bedroom rehearsals would echo earthquake bass and snare drums with rib cracking force. Musicians would hone their craft at night and their daytime hobbies were sleeping or committing dole fraud. Unemployment benefits were seen as an uno cial government funding exercise to play music.

Like a shark in a shot glass, these Rock N Roll ri ra were restless, buzzing with energy. They were at home on the road in crowded vans and cars, these black sheep once on stage became Golden Fleece. If your ears didn’t bleed you were a lightweight. Volume was art, noise loudness was the creative. The substance while touring was beer that was hoarded in cars stashed like doomsday preppers store tinned goods. Touring was thirsty work. Some on tour loved a drink that much, they would happily suck beer out of a Turkish wrestler's jock strap. Others would wring out soaked beer mats and guzzle the slime and backwash that bled from the damp cloth.

The motivation of these lionhearted bare knuckled rockers wasn’t a quest for exceptionalism, it was pursuit of the authentic, the main game was being real. While many dissolved into obscurity, John Swan is still standing and going - the distance. He refuses to go away and the world is better for that resilience. As the decade of dominance was winding up, some of the class of 85 had some success as the years bled late into the decade. The shooting stars of the now bygone era had blazed out.

During the 75 to 85 period John had been in Cold Chisel,Feather, Swanee, Solo John Swan and Super Group PARTY BOYS . These unfits garnered No 1 singles and several ARIA top 10’s . Swanee was a vocal sheriff of Rock N Roll Central, quick on the draw and with nerves of steel, he ruled the dusty streets.

For the next 40 years John recorded several solo albums including a stint in Nashville where he hit the studio with legendary Australian producer and Nashville resident the now, sadly, passed, Mark Moffatt. John performed in rock n roll reunions , toured his band Swanee and embraced his civic duty being the recipient of “ The Order Of Australia “ a giant in serving his community. He played for others less fortunate over and over...and over, performing regularly at fundraisers and numerous charities without fuss, without fanfare, and deservedly was awarded South Australia's Senior Australian of the Year.

The times had changed and, once suburbs full of battlers were gentrified. These new residents protested and lodged noise complaints claiming music was a racket that devalued their overpriced investment. A new breed of sterile artistes now claimed the limelight. Singers were now blow dried and photo shopped. The new breed were infantile and no longer sang of lived experience. Crowds also moved on. Patrons dressed like Scandinavian Light House Keepers and artisan Tasmanian glass blowers. Men and Women drank low carb beer that tasted like fruit salad. Venues replaced cigarettes dispensers with bright silver chromed cappuccino machines while bar staff became baristas.

But, now, when ROCK 'N' ROLL and blistering guitars are treated like an act of civil disobedience John has returned in 2025 with a new album called “Believe”.

This long awaited gem will nourish his fan base who have waited patiently as if watching an ice age thaw. "Believe" is rich in quality and rich in character... and inspiring.

John has rallied a cavalcade of legendary performers, each sharing their unique vocal style.

John’s voice still soars, and once again after 50 years he is still music's multi disciplinarian. An Australian music industry warhorse warrior, John doesn’t eat prunes he chews on glass, swallows comets and spits out stars. His new album “BELIEVE” has been a long time coming and the wait was worth the patience.

Over the decades, Swanee has shared the stage with many of the greats on this record-the powerhouse performer, he's carved out an album of unpretentious songs with master hooks and melodies. John's dominating vocals are further enhanced by friends and long time peers who all echo throughout this knife edge record.

From Dave Gleeson and Joe Camilleri, to the delicate sweet, lived, tones of Wendy Mathews, Mahalia Barnes and Melinda Schneider. Colin Hay chimes in continuing the duet theme, along with soaring guitars from international tunesmith and superstar Rick Springfield.

Featured are the unique talents of Diesel, Russell Morris, Ian Moss, Jack Jones as well as Swanee’s younger brothers , Jimmy and Alan Barnes.

“BELIEVE“ blends nostalgia with a modern ferocity balanced with sweet delicate touches. This album is a bold sonic landscape and a record that’s a painting of Swanee’s sometime troubled soul with a passionate and confident nod to the future. John utilises this new record as a melodic canvas, symbolising a man who has untold reservoirs of strength, this is musical story telling of healing, sometimes reminiscing,while embracing a shiny new world. 

John's renowned vocal style, a mix of gravel and scar tissue creates a cohesion with his guests. His voice is the gritty realism of Paul Rodgers and Van Morrison.

TRACKLISTING 

1. "WELL, WELL" A Delaney and Bonnie gem that kicks it off with younger brother Alan stepping up to the mic. Recording with Alan and Jimmy was the original reason for John wanting to record again and so here they are.... 

2. "AIN'T NO LOVE IN THE HEART OF THE CITY" Jon Stevens swaggers with John on this Bobby "Blue" Bland soul classic. 

3. "SHOULD'VE NEVER LET YOU GO" When Frog Harris suggested this little known Neil Sedaka song released back in 1980, he wasn't sure what John would think. Instantly upon hearing it, the first question asked was who was the right voice to match the sentiment and the purity of the song. The answer was easy, Melinda Schneider. 

4. "CALEDONIA" when you're born a Scot and you're singing a folk classic by Scotsman Dougie Maclean, there was only one choice as to who this duet would be sung with, fellow Scot, Colin Hay. 

5. "WHERE IS MY SOUL" The first of only 2 non-covers on "Believe", Swanee asked his brother-in-law Mark Lizotte, Diesel, if he'd mind writing a song. The next day, John was presented with a song that fits onto this album like a whiskey with ice in a fine glass.... 

6. "CRY TO ME" When you're making an album that is as much soul as it is rhythm & blues, then Joe Camilleri and Swanee meshing on this Solomon Burke classic is an absolute heart warmer. 

7. "DON'T THINK TWICE IT'S ALRIGHT" Among so many unexpected pleasures on "Believe", this Dylan classic sung with Wendy Matthews is another gem. 

8. "WITH MY MAKER I AM ONE" This Eric Bibb riff just never gives up, and is a glorious musical meeting between two long loved mates, Swanee, and the legendary Russell Morris. 

9. "ALL I EVER WANTED" "Believe" called out for a flat out rock rock tune and when this Santana cut from "Marathon" released in 1979 was decided upon, the voice to match with John's was easy - Dave Gleeson. To kick the track into the upper atmosphere though, it needed a true rock guitarist and into that space walked the legendary Rick Springfield. This has to be played LOOOOOOOUD. 

10. "BRING IT ON HOME TO ME" This Sam Cooke classic shows another different side to "Believe"and to reach this song's level of class and soul, please welcome the one and only, Jack Jones. 

11. "LATELY" When talking about soul, putting together a Stevie Wonder classic from "Hotter Than July", Swanee, and the vocals and guitar playing of the legendary Ian Moss, you can hear the more than half a century of friendship between these blood brothers... 

12. "BROTHER OF MINE" and talking about brothers... The reason "Believe" was created was so John could sing and record with his family. This Steve Kipner/ Tommy Emmanuel song is so lyrically perfect and harmoniously amazing by these 3 brothers Alan, Jimmy and John it will be regarded as the king tide on an album of high water marks. 

13. "DARK END OF THE STREET" Another soul classic showcasing the legendary voices of 2 legendary brothers John Swan, and Jimmy Barnes. 

14. "THERE IS A ROAD" There aren't too many musicians out there that can claim to be as travelled as Swanee, but Kevin Borich is one. This original was written by both of these road warriors. 

15. "PEOPLE GET READY" "Believe" is an album about family, and friends who are like family. This Curtis Mayfield all time great is taken to the limit by John, and niece, Mahalia Barnes. 

16. "BELIEVE" When discussing the structure of "Believe", Frog Harris strongly highlighted the importance of the final track of the album. The one that "locks everything into place" and is the perfect ending to the experience. Also importantly was the idea that when all of his friends and family have moved away from the microphone, the spotlight was on John, and when this amazing Brooks & Dunn track was suggested, Swanee immediately realized this was what the album should be called.

"BELIEVE" is musically straight out four to the floor rock with a room full of blues tracks and smoky elegant ballads. John has atomised his life into “ BELIEVE” accompanied by a legion of musicians that invest their numerous talents into a personal and spiritual journey. Punctuated with snappy brass and orchestration you can feel the emotion engraved on Johns face. 

“BELIEVE“ is a universe of inspiration, balancing renowned genres that cover generations, and is a document of a man that never quits.