The premise was to base the band's foundation of a set of ideas that encompassed and reflected the big picture of the human condition and human existence......the human spirit's heart, emotion, experiences and drive, towards cities, community, urbanisation and a reliance on technology. The band was established out of the rubble of The Pipelines in late 1983.

Initially the songs and music were reflections borne from experiences in the stark urban environments of the inner city of Geelong, Melbourne and Sydney in Australia. The members were also driven by a desire to create something unique through sheer persistence, drive, determination and unquestionable belief and committment to their music. Their philosophy had a "do it yourself" attitude and "make, own and sell our own content" in order to have control of their artistic, business affairs and destiny. Initailly having a say in those areas was at odds with totally handing their destiny to corporate music interests. Small is beautiful....

Many other artists and bands were an inspiration: (see list: place link here to Jimi Hendrix, U2, The Stranglers, Malcomb McClaren, Sex Pistols, XTC, Simple Minds, The Beatles, The Stones, INXS, Midnight Oil, Hunters and Collectors, Goanna, The Birthday Party and The Go Betweens.
This website is a multimedia gallery and testimony to U.P's artistic achievemnents, legacy and ongoing
activities and releases to date: it will develop over time.

The Urban Principle began in December 1983 in Melbourne, Australia and was at the forefront of a new breed of Australian
rock bands with its objective to break out of the 80's with new sounds, new dynamism and no boundaries. Their music at
the time was a convergence of hard-edged dynamic rock and unique melody - sometimes idealistic, sometimes cynical in
theme - it caught you at every turn. Importantly, the band was a distillation of multiple talents. Its' founding member was John Phillips (Vocals / Guitar) who always had the inspiration and desire to create something unique. Other founding members were Philip Rienhardt (Bass), Nick Kharitou (Vocals/Bass/Keyboards), Tony Italia (Drums and Percussion) and Rex Delaney (Manager).

A unique and crucial relationship developed between Phillips and Delaney where ideas, philosophies, strategies and
directions were hatched and formulated. Both were actively involved and interested in other areas such as Media, Film,
Video, Design, Fashion, Architecture, Technology, Visual Arts and Humor. These interests were mixed with experimentation, exploration and the pursuit of ideas. Later, Rex was to join as a band member. Both had studied at Deakin University in Geelong and had hung out at Geelong's legendary Eureka Hotel in the late 1970's when it was run by Ian Lovell who was a music promoter and the manager of Goanna. Under Ian's management The Eureka Hotel saw a constant procession of  the best Australian and International acts and artists stream through who were either legendary or were to become legendary. This was the window to a world of creative possibilities outside of the walls of Geelong as far as John was concerned. Melbourne and Sydney were hubs of music and media industry energy at the time yet many bands were attracted to the inspirational spirit of the coastal stretch along the Great Ocean Road. John and Rex were introduced to each other by another musician, Jon Lucas, in 1983 in Melbourne after all had attended Deakin University. Usually young musicians with any creative aspirations left Geelong for either Melbourne, Sydney, Perth or overseas. Redhouse, Goanna, Michael Thomas and David Steel from Weddings Parties Anything had long gone.Goanna and Ian Lovell were enjoying the fruits of their move with a national top 10 album and single "Solid Rock"at the time.

John had formally studied to be a teacher at Deakin with major studies in Music and Media whilst Rex had studied Dramatic Arts, Economics and Marketing. Jon Lucas had been Activities Officer for Arts and Entertainment at Deakin after the Pipelines manager Robert Binnie left the position. Binnie had been studying Drama and running shows with Midnight Oil, INXS and Men at Work at Deakin and then Simple Minds at The Colledina Hotel. The Men at Work show where 3000 turned up was just too over the top for for the University Administration. Some had caused damage to the building so Robert left and went onto run very successful shows with INXS, Men at Work, Simple Minds and The Psychedelic Furs at the Collendina hotel.(see article in The Planet) The Pipelines got many shows on these bills. Eventually Robert went to work with John Sinclair and Zev Eisek at Nucleus Agency running out of Macys Hotel (Her Majesties Hotel) in Prahran.

John and Rex pooled their collective knowledge, interests and experiences and collaborated to set a course in developing a unique entity, style and attitude. The music featured intricate interplay between stage performance, guitars and synthesisers backed by a driving rhythm section and other sounds.  The idea was to develop sounds and visuals for the band that gave the songs a wide cinematic expanse and presence. They also wanted to make films as well so plans and concepts were developed.

In 1984 U.P began writing songs, rehearsing and performing live at venues in and around inner city Melbourne, Geelong and  The Great Ocean Road. In that year recording of demos of their songs began with Engineer, Michael Letho at The Victorian College of the Arts. Michael Thomas had recommended Letho to John when The Pipelines were together. Out of these sessions came "Wasted Youth" and "Something Inside". The band wanted to work with Michael Letho because it liked his work on Phil Judd's solo album. That album had come out shortly after The Swingers huge hit "Counting the Beat" and the soundtrack album for the Gillian Armstrong film, "Starstruck". Judd had been a key member and creative force in Split Enz and The Swingers.

At this time a bands main focus was to chase a deal to be signed to a label through endless live gigging. Once signed the recording and clips eventuated followed by promotion and then a bigger audience. John, Rex and Nick reasoned that why not take a new route in the business and make the recording and the video themselves. They thought of the process as making an artistic product. This allowed total artistic control of the production process. There had been many complaints from bands and stories of band's work being interfered with by record companies. The process and final results had been unsatifactory.
With a finished product in hand they would then go to the record companies and procure a leasing arrangement. This meant the writing, production and creation of the content was in the hands of the artists. The role of the record company was to market, promote and sell the product. This philosophy was such a core to the bands ideals and activities and central to it's direction from then on. In that year the band produced it's first clip for "Wasted Youth".

"Wasted Youth" was directed by John McGlynn who was another ex Deakin University creative.  John had done dramatic arts, was an avid surfer and aspiring filmaker. He had hung out with Rob Binnie and other surfers on The Coast and previously shot live performances and a music video for The Pipelines. McGlynn quickly tired of Geelong and had previously made the move to Melbourne in 1982 after he had been introduced to Television Director John Gauchie through John Phillips's mother, Margaret Steven who had been an actress, writer and casting director. Gauchie ran workshops for young filmakers and actors trying to get experience and a break in the film and television industry. It was here that John McGlynn met other filmakers Chris Odgers and Roman Baska. John Phillips and Chris Odgers were introduced later when Chris was looking for a new place to live. He moved in with John and Jon Lucas at Strode Street, Richmond. Chris was a Swinburne Film Graduate and John McGlynn brought him in to co-direct the music video for "Wasted Youth".  The clip was edited by DOP Roman Baska who had attended Lodz film school and had gotten out of Poland at the time of Solidarity and revolution. The entire music video form was exploding as a medium at this time as a means to expose, promote and quickly establish a band. Why tour globally when a music video could do the work in getting a message and performance across and cover more ground? This is how motion films worked as compared with touring theatre companies and bands.

In late 1984 John and Tony Italia went to Sydney to pitch the "Wasted Youth" clip and song package to record labels. Bruce Butler at Virgin Records became interested. He was planning to release an album called "Virgin Territories" to promote new, unsigned talent within Australia and get a release in other global territories for Virgin. This was a great idea and a way to get new Australian music to the world marketplace. At this time Australia had hit international centre stage with the phenomenal success's of  Men at Work and AC/DC. INXS were just begiining to break through to an international audience.

In early 1985 Bruce Butler heard these songs amongst 600 other demo tapes submitted from Australian bands and liked what he heard. He suggested the band re-record "Something Inside" for a possible release and a promotional campaign instead of "Wasted Youth". Unfortunately in late 1984 bassplayer Philip Rienhardt decided to leave the band after putting in a lot of the early groundwork for The Pipelines and Urban Principle. Matters of the heart meant he had just come back to Australia from a European holiday and decided to return and live in Sweden permanently and persue a career in photography. He was replaced by Phil . . . . . This lineup didn't last either and soon Tony Italia left after hearing the prospect of further recording, further expenses and diminishing live performances. The band effectively became a recording band only at this stage. This was a concept many in the Australian industry at the time couldn't get their head around although it was becomming commonplace in the UK and Europe.

A new version of "Something Inside" was recorded and completed by early 1986 and featured sessionaire Peter Maslin from Boom Crash Opera on drums and percussion. Nick Kharitou had programmed and played all the basslines and Rex Delaney was now playing some guitar parts. Virgin were very excited by the new version and committed to including it on the Virgin Territories album. The band were over the moon and saw a window of opportunity with a major label now showing keen interest. However, the pressure was on to invest more time, effort and resources to take this strong, first single further by making a music video.  John and Rex figured if they were the only band to show initiative and produce a decent music video with very high end production values then more than likely Virgin would push that particular song as 'the' single for the album on television and radio. It was a calculated risk to borrow to the hilt to take that leap. It could mean further exposure and a possible break through catapaulting the band into the big league of the electronic media. Financially, this was a big commitment. Once the recording of "Something Inside" was completed in late 1985 Nick Kharitou who had largely cowritten the song with John departed as well forming a band with Phil..... This was another setback. With only John and Rex left standing it really tested their nerve, committment and passion.

Looking back, 1985 had been a tough transitional year for the band. Sustaining an original band on limited gigs in a changing Melbourne climate was getting tougher. There had been a contraction in live venues and opportunities for original music whilst cover bands were cleaning up. Most venues were controlled by two agencies, Nucleus and Premier. Without an agent it was tough going. Rather than miss the opportunity with Virgin they pushed on because it as the most efficient way to break out of their situation. They had seen from experience that once that happened live work would easily come from the agencies.  Everything hinged on the record deal coming through followed by strong promotion and marketing to radio, press and television. John and Rex had always been interested and intrigued by the machinations of the marketing and success process in the electronic, audio-visual and print mediums. They had day jobs in these areas and were both were living and hanging out at Strode Street, Richmond at the time.

Richmond had a strong, energetic street culture of spirited young people with creative ideas and dreams. Strode Street bathed in the ambient glow of the Skipping Girl, Nylex and Pelaco Signs, fell under this spell. They were electronic icons of this inner city landscape; beacons and points of reference for this inner city crowd involved within the arts and music areas. This was their home with their cousins in St Kilda and Fitzroy.  A number of Strode Street residences became notorious for their constant bohemian energy, ambience and creativity. There was a steady procession of people 'on the scene' ie: musicians, writers, actors, film makers, drug dealers, partygoers and hangers on coming and going all day and night. Richmond and the inner city of Melbourne was mythologised and portrayed in Richard Lowenstien's first feature film: "Dogs in Space"set in the late 1970's. Many of the people in the area used to buy their clothes from trash and treasure shops and shoes from shops on Bridge Road. One shoe shop was run by an Italian man, Rocko, who had been making the same winkle picker shoes since the 1960's. It was common to see musicians from the St Kilda scene ie: Nick Cave, Roland Howard and other Gothic Punks in sharp attire buying their shoes here.

Across the road from this shop was the Tofu Shop, a key meeting spot where many ate and talked ideas about their work and aspirations. It was here where Rex and John hung out eating great food and talking ideas with shop owners Malcomb and Gunner Green under various "musical & spiritual" advice before retreating to Strode Street to rehearse and write. This became a pastime from 1984 to 1986 as the shop was a community hub. It was common to see musicians and people from Hunters and Collectors, Push of Love, Boom Crash Opera, Mushroom and Virgin Music there during the day and evening. It was here where Rex and John met Mark Bernsons who was to become a key member after Nick Kharitou had left. Mark had been on the scene in the late 70's and had classic training as a pianist as well as a sharp ear for a pop song. His record and video collection featured classic pop songs and artists such as The Beatles, David Bowie, XTC and other post punk artists.

These three now became the core members. A photoshoot of promotional shots for Virgin was done by Philip Rienhardt just before the shooting of the music video for Something Inside. The photo shoot features Belinda Alexandrovics who performed the ballet sequences in the clip. At this time the band had been rehearsing with drum machines and no bassplayer.
Soon bassplayer Patrick Quinn joined. John and Rex had met Pat through Jon Lucas and Raphael Martino from White Xmas during the early Strode street days who hung out with others from the inner city fringe crowd and nightclubbers. This crowd were just post the culture that the film Dogs in Space was about. This culture was now entrenched in a hedonistic scene mostly on the dole defiantly living a creative and subtereanean existence. They would stay up all night partying and or working then sleep through most of the waking hours totally out of sync with the daily grind of the mainstream and having a day job. The 80's was definitely on.

In May 1986 a classic looking black and white/colour Music Video for "Something Inside" was shot on 16mm film to convince Virgin to release the song. It was also seen as securing their position for a release. Through ex-Swinburne student filmaker and Strode Street housemate, Chris Odgers, the band was introduced to Graham Blackmore. Graham was already an experienced  filmaker with veteran status having worked on some 20 features, documentaries and television series in Australia and overseas. Graham directed the clip with Roman Baska as the Director of Photography.  The nightclub boom (ie: Hardware Club, Razor Club, Uno Ariba etc) and the corresponding fashion and electronic dance music scene in Melbourne was exploding at this time spearheaded by the F.D.C (Fashion Design Council). The FDC were at the cutting edge and pushing the envelop where art, attitude and fashion collided in popular culture. (See video "Revolt into Style" by Simon Burton.) Many of its proponents came from the post Bowie, Brit Punk, New Wave, Glam, New Romantic and Goth movements. These movements definitely influenced the form and costuming of the band in the video. The band asked Adrian Benvenga from White Xmas to stand in as a drummer for the clip. "Something Inside" was typically mid 80's in style and was underpinned by strong sequenced electro-basslines, electronic percussion and featured big cinematic production values. The song and video are a beautiful reflection of the band's debut and captures it's sound, essence, freshness, spirit and look during this early period.

With the video and single completed a drummer was needed to prepare for the inevitable live shows following a release. Graham recommended Michael Rumpf who also worked in the film industry. Micheal worked in the areas of Art Department, Props and Set Design. He had previously played in a band called Safehouse with Michael Den Elzen who later joined Phil Judd's Schnell Fenster. Whilst negotiating and waiting on Virgin's decision to release the Territories project the band played some live shows in this line up. Virgin in fact sent a test pressing of the Territories album to the ten bands chosen. Things had been looking good. (See article from Stiletto Magazine) Meanwhile, the band had been busying themselves with other projects.
Film director John Armstrong commissioned the band to record soundtrack music for the Swinburne short "Looking for Spacethings" after what the band had done for Julian Rex's two Swinburne shorts, "Picture This" and "Shark Story". These films went on to win commendations and awards in Australia and overseas. The band also provided performances and backing tracks for a solo song project called "Hot Spots" for Micheal Rumpf. This was recorded by Michael Letho at the V.C.A. A wide screen 35mm music video was shot at Cooper Pedy's Moon Plain featuring Michael Rumpf singing whilst he was working on location for the Australian feature film "Ground Zero". Shooting 35mm anamorphic for a music video was unheard of in Australia at the time. Graham Blackmore cut this clip and Roman Baska shot some scenes. Unfortunately this song and music video never got a release with a label. It showed another dimension and edge to this group of musicians that was sharper, harder, desolate and experimental set in an Australian desert and cinematic world media landscape. It ran along the lines of early Hunters and Collectors meets Peter Gabriel using sampling and industrial noises. These things had only been hinted at by other artists at the time.

Negotiations with Virgin (Australia) stalled in 1996 and became complex and protracted because of a management restructure within the company and a new CEO coming from the U.K. Bruce Butler resigned. As the band performed in Melbourne and waited in frustration Virgin finally made an offer with no guarantees. This was unsatisfactory so negotiations collapsed.
Another line up change with the rhythm section eventuated with Micheal Rumpf and Patrick Quinn leaving shortly afterwards to start their own band because Michael wanted to write and sing his own songs.

At this time Rex, Mark and John were acting and performing in Female an elaborate and logistically complex short film by Belinda Alexandrovics.  They were also commissioned to write part of the score with John Justin. The film was an ambitious production and had a big cast and crew in excess of 50 people. Female went onto to win a commendation at the Sydney Film Festival and an award at The Chicago Film festival for Best Experimental short film after Belinda was asked to attend.

With no release deal in sight and no rhythm section it was tough going to hold it all together considering so much time, effort and money was now invested in the Something Inside project. Rex, Mark and John pushed on. The band got a new temporary rhythm section with Steve Carter (Bass) and sessionaire Stephen Henderson on drums. They had been recording extensively at V.C.A with Micheal Letho. Steve Carter had consistently played in The Cheks with Paul Hester (Crowded House) in Melbourne, Sydney and at Geelong's legendary Eureka Hotel run by Ian Lovell in the late 1970's and early 80's. Immediately U.P began shopping for another deal with major labels. Finally something did eventuate. Martin Walsh who was working for the Cleopatra Label under Musicland Distributors saw the presentation of the video and single come across his desk and was excited. He was looking for a band to take him into the arena that meant a major deal, a major label, success and all that goes with it. He saw that the product was slick and easily in the same vien as Boom Crash Opera's work. Boom Crash were in the position that they were a great live band and were enjoying success that came from their hard work and talent. They were signed to a major label with clout, huge budgets, strong promotion in Australia and experienced Sydney management.

up to here

Musicland were looking for a commercial break through for their Cleopatra label after Melbourne commercial FM radio had picked up two acts on the Musicland roster: The Pony and Blue Ruin. Something Inside was signed for a release through it's label, Cleopatra. Cleopatra wanted a 12 inch dance mix for the club scene so Michael Letho recommended French producer, engineer, Francois Taviaux who just had arrived from London. By sheer coincidence he had been working for Virgin on the Thames at The Barge recording studios. He was known for his work in London with A.B.C, Simple Minds, Ultravox, Steven Duffy and locally with The Painters and Dockers, (Nude School) and Joe Camilleri. Francois recorded extra guitars and synths at VCA then remixed and cut the 12 inch version with engineer Michael Wickow at A.A.V's Studio One using the automated SSL desk.

At this stage John was experimenting a lot with video media and a series of video stills were shot for the cover of the Something Inside release. The shoot was done at a warehouse space in South Melbourne above Cine Services. This was Belinda Alexandrovic's dance studio where many of the rehearsals for the film Female were held. Phil Rienhardt was visiting from Sweden at the time and shot the stills directly from a video monitor.
Again the rhythm section soon departed just before the release. On reflection it seems as if it was a case of the collapsing rhythm sections that plagued the band. Rhythm sections seemed to want to perform live more than anything else. It was back to the core members once again to find another rhythm section. Luckily a breakthrough came. Through Michael Letho's assistant engineer Sandra???....at V.C.A, U.P was introduced to bassplayer Paul O'Leary who was a real talent. Paul was also recording, producing and writing his own songs at his home studio and looking for a vehicle for his endeavours. He was sharing house with Russell Bradley who was the drummer from Not Drowning Waving. Not Drowning Waving were part of the Musicland camp and signed to Bill Tolson's label, Rampant Records. Rampant releases came out under Musicland's Distribution umbrella.

The rhythm section soon settled on Paul O'Leary (Bass / Vocals) and David Rodgerson (Drums and Percussion). David
had answered a newspaper advertisement and immediately clicked on the first song at rehearsal. In fact the band burst out with laughter is was so good. It was as if David had known the songs all along. David came from Broadmeadows which was a harsh and tough industrial suburb in Melbourne. His background boiled over in the sheer explosive power and precision of his drumming. Years later at a wild guess John was to ask David's girlfriend, Melissa Etchingham after she had come back from seeing her Aunt in England "Hey by the way is your Aunt's name Kathy?.... Kathy Etchingham? Melissa said "yes how did you know?" ........John then asked "Did she go out with Jimi Hendrix?
This stunned Mellisa and everyone in the room. Kathy Etchingham had lived with Jimi Hendrix for four years in London in the 1960's when Hendrix's musical career exploded. This fact was a total headspin for John who had been a Hendrix fan all his life. Hendrix was the inspiration and the very reason John had decided to seriously pick up guitar and persue music. The film "Six Degrees of Separation" rings true.

up to here
The band had always had complex and delicate parts in the areas of vocals, guitars and keyboards. Paul and David had seen the strength of the songs and their potential and as a rhythm section now glued this all together allowing the band to deliver it's potential. The power of this line up was a potent force and demonstrated just how far UP had grown as a performing unit. It is clearly apparent in the CD of the band's live performance at The Palace in St Kilda late 1987 just before the release of Something Inside. Their input in reshaping those songs along with the band's unflagging committment and belief ushered in a new chapter and development in the UP story.
In March 1988 the release for Something Inside was successfully launched at Melbourne's Metro Nightclub. The music
   video immediately went onto high rotation on Nightmoves Australia wide and was featured on ABC TV's The Factory and
   Rock Arena. To support the release and the promotion the band began a series of live shows.
   At this time Martin Walsh became the band's first manager since Rex initially managed the band. Martin was working for
   Musicland at the time and had connections in radio and other media. His agenda was to get a major deal for U.P. He
   wanted a band in the mould of INXS and other Melbourne based band, Boom Crash Opera who were signed to WEA.
   Boom Crash were getting the full clout and commitment of a major label push within Australia at that time.  
   However Walsh seemed to be more interested in a quick sale to majors. He went on to manage Push of Love at a most
   critical time when Something Inside was released. Unfortunately this along with many other issues contributed to the
   demise and disintergration of the relationship bewteen U.P and Walsh. U.P saw put its future and health first and went
   back to self management. The main concern was to release another single as soon as possible.
  UP saw how Not Drowning Waving had been consistently putting out product and recordings inexpensively with a do it
  yourself attitude through indie label, Rampant Records, using a home studio called Pigpen Studios. This lowered costs
  and meant the band would have a better chance at recouping expenses and could spend more on promotion and be able
  to consistently stream out new releases. Major labels at this time couldn't get there head around the idea of releasing
  something recorded at home, it had to be recorded at a name brand studio despite how good the recording sounded. This
  seemed to not make business sense either as a record company adopting this method would cut costs and have a better
  chance or a return. UP decided to scale down after spending so much and do some demos at home. From this came the
  first demo for Broken For It. This effort was so good the band became excited and immediately decided to do other
  songs.
    more new songs and demos  Splash of Blue and Birth of a Nation are songs Rex sings) demo cassette #1
    did we do disposition?
  these  new strong songs presented to majors and known producers who were originally presented with Something
  Inside. Broken For It, Someting Inside, Disposition and Birth of a Nation were presented?
   
   
   
  transfer the 8 track to 24 track at Fortissimo Studios in South Melbourne and do another single broken for it. This time
  Paul Oleary produced it with Francois Taviaux producing and engineering. A 12 inch was also cut together by Francois.
  Unfortunately Cleopatra Musicland were in financial difficulty and couldn't guarantee a release.  A clip which had
  started to be shot by Roman Baska with David Goldfayle directing had to be aborted. Time was running out for Musicland
  who were to eventually collapse financially when record buying virtually changed over night one Christmas period from
  Vinyl to CD.
   A decision was made to do a first album called "For the Centuries Ahead" after HiRise was written.  Most of
  this album was recorded at home. This was a bit of a band joke at the time becasue the quality sure sounded like studio
  quality to the lay person. Home recording for release was virtually unheard of at the time yet it is commonplace today.
  Most of the bed tracks were literally recorded in the bedrooms and hallways of Paul Oleary's house in Elsternwick. Most
  of the band agreed why didn't we think of this earlier? The strategy was to do all the basic bed tracks on an R8 Fostex 8
  track at home then transfer these to 16 track and finish all the vocals and other critical overdubs, performances, mixing,
  editing, sampling and post production at Greg Ham's Curtain Street studio in Carlton with Michael Letho engineering and
  mixing with the band producing.
  Greg had set this up after extensive touring with Men At Work. This was a great studio established for up and coming
  songwriters and bands. Once all the bed tracks were recorded the band dumped these to the 16 track at Curtain Street.
  Michael Letho introduced the band to Greg Ham and arranged another engineer.....because Michael was
  committed  to recording Daryl Braithwaite's album at that time.
  Whilst recording the new album something did eventuate from the presentaion of Broken For It, Someting Inside,
  Disposition and Birth of a Nation.  Producer engineer Angus Davidson who'd had a lot of recording experience in
  Los Angeles was back in Australia and had just come off working on the Michael Hutchence, Ollie Olsen "Max Q" project
  album at Powerplant Studios. Angus was excited with these songs, called and wanted to immediately record the band
  and go for a major label deal because of his association with majors in Australia and LA. The band were dissolutioned
  with major labels and wanted a fall back position. if no deal eventuated. It wanted to sell its first album through retail
  directly and keep overheads low.
  1. Angus comes in on the recording project.
  3. rex asked to leave.
  2. Crisis emerges in line up mutiny to get rid of rex. paul brings in mark oleary just as recording is underway because
  paul wants control and if we are going to spend lets change the lineup.
  3. album is done, lineup stabilises.
  4. for the centuries ahead video. john well into video art work at this stage. new photos session.
 5. Band presents to labels via manager angus refers. no go so band sells album itself / very hard without distribution.
 goes on foot to shops. No management, no deal and crisis of frustration emerges. day to day Now centred around paul
 and john.
 6. cassette # 2 WAKE UP, NEW FRONTIER, FACTS AND FICTION AND ANOTHER SONG is done after for the
 centuries ahead. maybe JP instigated this?
  
  
  
  
  
  
  
  
  Urban Principle now exists as an entity attached to John Phillips who is an artist and musician who
  works with a fluid group of musicians, writers, artists, filmakers, technicians and media developers.
  It is a vehicle of expression for his musical vision, preoccupations and ideas born from an Urban
  Post Industrial Landscape.  It has always brought together a diversity of ideas, influences and
  elements and has essentially grown into an electronic media experience since disbanding as a
  regular ongoing live band with a permanent line up in May, 1990. It is now free to perform as a live
  band if it chooses to do so as projects eventuate.
  Urban Principle had always had an independent philosophy and an attitude of "do it yourself"
  wanting control and ownership of its content. By 1994 the internet was begining to arrive. It offered
  an alternative to the systems of marketing and distribution of music we have known.
 PREVIOUS MEMBERS
 Mark Bernsons (vocals, keyboards)
 John Phillips (Lead vocals, guitar)
 Rex Delaney (Synth guitar)
 Paul O’Leary (Bass, vocals)
 David Rogerson (Drums, percussion)
 Steve Carter (bass)
 Patrick Quinn (bass)
 Steve Henderson (bass)
 Michael Rumpf (drums)
 Mark O’Leary (guitar)
 Nick Kharitou (Keyboards)
 Tony Italia (drums)
 Philip Rienhardt (Bass)
 Phil....(Bass)
                                          In Sept 1994 its founding member John Phillips along with business
                                          partner, Peter Bancroft, set up INTERMUSIC AUSTRALIA. It was the
                                          first commercial Australian internet service provider specifically
                                          geared for the music industry. It offered a vision and an alternative
                                          distribution and marketing system for independent Australian artists
                                          who would normally work through the established marketing and
                                          distribution systems within the music industry. The internet has truly
                                          now arrived and will change the delivery of music.