Скачать или смотреть Stevie Wright: Oz Rock’s MOST TRAGIC Tale - How Everything Went Wrong

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He moved like he’d been shot out of a cannon—hair flailing, hips twisting, veins full of fire. Stevie Wright didn’t just perform—he detonated on stage. The smallest guy in the room somehow took up the most space. He’d tear across the stage in a frenzy, throw his head back, and let out that unmistakable cry—half melody, half scream—and thousands would erupt in return.

In the mid-60s, rock ’n’ roll was still finding its accent in Australia. And then came Stevie.
When he sang, it sounded like the suburbs letting loose. Like youth itself had found a microphone.
But the same energy that made him magnetic also made him volatile. Wright’s was a life of extremes—electrifying fame, catastrophic addiction, and long spells in the wilderness. He was the sound of Australian rock coming of age, and also its first great tragedy.

Born in Leeds, England in 1947, Stephen Carlton Wright emigrated with his family to Australia in the 1950s, landing in the working-class churn of Sydney’s western suburbs. They settled in Villawood Migrant Hostel—cheap barracks for new arrivals trying to forge a life from nothing. It was rough, but fertile ground for dreaming.

Stevie was restless from the start. Drawn to Elvis, Gene Vincent, and Little Richard, he mimicked their moves and devoured their records. His voice was coarse, desperate, electrified with teen angst. And it didn’t take long to find kindred spirits.

In 1964, he met four other young migrants at the hostel—George Young, Harry Vanda, Snowy Fleet, and Dick Diamonde—and they formed a band. They called themselves The Easybeats, and they weren’t just good. They were combustible. Within months, Stevie had become the most charismatic frontman Australia had ever seen. Not polished, not safe—but thrilling. He’d whip crowds into a frenzy with songs like “She’s So Fine,” swaggering across the stage with wild eyes and untamed energy. Their music was punchy, urgent—beat-driven rock with a Sydney edge. By 1965, they were on national TV and radio almost daily.

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