Chords for The Divinyls - Aria Hall Of Fame Induction 2006

[A#] _ _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _
_ _ _ _ _ _ It has been a while since Rio has been played at the Arias.
_ That's for you Pete.
Anyway, I just want to say what a thrill it is for me to be here tonight and particularly
my job here which is to induct the Divinals into the Hall of Fame.
_ _ _ _ _ _ As we all know the beginning of the 80s was the beginning of a new wave of success for
Australian music and there were a handful of acts that just were doing amazing things
all around the world.
The Divinals, the innovative Divinals, a Sydney five-piece band was one of those that was
doing exactly that.
I'll never forget the first time I saw the Divinals led by the charismatic Chrissy Amflet.
And charismatic was probably not the word that was coming to mind when I was 15.
_ _ _ Sorry Chrissy if you're listening, I was about 14, 15 when I first saw you in that
St Trinian's outfit and seeing as I'm working with you every night I probably won't go into
exactly what was going through my mind.
But she and the rest of the Divinals it was fair to say were confrontational and they
were mesmerizing like all good rock and roll should be.
Chrissy Amflet revealed her magic as she waved her provocative wand pushing and prodding
her way through an essentially male-dominated music industry.
She and her partner and guitarist songwriter Mark McEntee provided a visual, a musical
and a very personal _ explosive cocktail which was laid bare for all to see.
With a rock steady rhythm section of Rick Grossman and Richard Harvey and the keyboard
of Bjarne Ollion, the Divinals carved their way into our consciousness.
Along the way long-term friendships were formed, ripped apart and reconciled again.
Short-term friendships fell apart at the seams and some are still reconciling.
But at the heart of the Divinals was the bond, the belief in their quirky, unique take on rock music.
They were the spirit of rock and roll and they were the real deal.
And if you need a little reminder of just how dynamic the Divinals were, this is [C] the Divinals.
_ _ [D] _ _ _
_ _ [A] _ [F] _ _ [G#] _ [A#] _ _
[F] _ It [Fm] took Divinals three [C#] little words to captivate the entire [F#] world.
In [Bm] 1991 [C#] Divinals were [F#] top of the pops everywhere.
I Touched Myself [Bm] was one of the [C#] year's biggest [F#] hits.
It was a [B] crowning moment in one of Oz [F#] Rock's most epic journeys.
A journey that began [B] almost a decade earlier [Dm] when Christina Amplett [C] met Mark McEntee.
[Dm] Instantly this gang of [Am] two knew their destiny was to become one of [Dm] the biggest bands on the planet.
What I liked about [C] Mark was that he [Dm] really, he was wanting to do something and he was very eager.
_ [C] Mark _
[F] shared [Dm] Chrissy's vision of a rock and roll future.
The first time that I heard Chrissy's voice I just thought it was great.
And from the first time Chrissy and Mark wrote music together, it was magic.
_ _ _ Boys [A#] in Town immediately [C] splashed Divinals all over radio and [Dm] Countdown and straight
onto the national top ten.
Divinals were by now a fully fledged outfit.
[C] With Chrissy [A#] up front in her schoolgirl uniform and [C] trademarked house, she was sexy and scary.
[Dm] The impact was immediate, unforgettable.
Australian music had [C] never seen anything like [Dm] her.
It's not something that I sit [C] down and contrive, I just get out there and do what I do.
They toured the pubs and clubs across Australia, from inner city dives to mining town community
halls six nights a week. _ _ _
_ The soundtrack to the film Monkey Grip became Divinals' first major release.
And in a radical move for the time, [Gm] manager [D] Vince Lovegrove secured Divinals an international
recording deal, direct with the US-based [A] Chrysalis Records.
_ [G] _
_ Their 1983 [D] debut album was the critically acclaimed, raw and edgy [Em] Desperate.
_ [G] Americans too had never [D] seen or heard [G] anything quite [C] like Chrissy Amflit, and the Divinals
quickly [G] built a solid following on the US college circuit.
[N] You have to be good live, you [D#] work hard, you go through [C#] a whole process.
In the years to [F#] come, Divinals [Fm] toured [G#] intensely, delivering a succession [D#] of timeless hits and classic albums.
_ [G#] _ _ [Cm] Their success was driven [Fm] by one of the [F] most volatile [G#] relationships in rock and [D#] roll.
You go through different sorts of phases.
What's the [C#m] phase at the moment?
[D#] Pretty well a non [B]-speaking phase.
[C#] In late 1990, [D#] Divinals had a new [B] look and the most famous [C#] ode to self-love ever pimped.
[B] _ _ [C#] _ [F#] _ _ [C#m] [B] And then the I [C#] touch myself phase came, [F#] and [B] everybody forgot anything else and I became
this sexual [C#] person.
[C#m] The self-titled Divinals album was their watershed.
It found them at the top of the charts and the name on [D] everyone's lips around the world.
[Fm] _ [A] _ Chrissy and Mark changed the boundaries of Australian rock and roll, in particular the
perception of women in rock.
[G#] I see now that [A#m] individuality of women [F#] is expected and it is accepted a lot more than when I was around.
[A#m] _ _ _ [Fm] _
They were one of [F#] our most dynamic live acts ever, and the [G#] Divinals [A#m] music ended up touching us all.
[Fm] _ _ [F] _ [F#] _ _ _ _