Clemence Hosch, born in Brisbane, and Rachael Scully, from South Australia, first met when attending Queensland University in 1974. Hosch was leading his own musical group, The Clemtations, who were playing a student gig at Dipper’s Ballroom where Scully worked part-time.
During soundcheck, when Scully heard Hosch playing ‘Sunshine Superman’, she joined him on harmony during the chorus. Scully later recalled, “I was a barmaid at Dipper’s, moving some speaker cases and beer kegs when I unconsciously started singing along to Clem’s vocal.. He stopped playing.. and um, I was in the band that night.”
The Clemtations were a regular at the ballroom, where from late night until early morning they would play three forty minute sets. Covering the likes of Mott the Hoople, Wings and Lynyrd Skynyrd, the band experimented with long extended solos and instrumental excursions. Hosch, who had trained as a competitive gymnast between the ages 5 and 16, not only sang but also gracefully manoeuvred through a series of aerial walkovers, backward somersaults and cartwheels during each set.
On further discovering that they were interested in the same songwriters and authors, Clemence and Rachael began writing songs on a regular basis and eventually shared a number of apartments on campus and in the city. One of the residences had “Hosch & Scully” written on the mailbox, which friends labelled them when Hosch disbanded the The Clemtations and they began performing as a duo. Clemence would alternate between guitar and a Wurlitzer piano, while Rachael provided percussive embellishments.
With a student loan Hosch purchased a ARP Odyssey, the world’s first duo-phonic synthesiser – capable of playing two notes at once – and a Yamaha CS-80. Finally being able to experiment on multiple tracks and overdub, Hosch & Scully where known to spend weekends locked in their apartment, recording demos in different rooms, writing at all hours of the night and reading the works of Henry Dumas, Anna Kavan and Olaf Stapledon – for inspiration.
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The demos eventually secured them a deal with Polydor Records. Their debut album, Addie Bundren’s Odyssey, was released on 3 February 1976 and contained eight tracks of psychedelic classic literature re-imaginings.
The title of the debut is a reference to Scully’s favourite children’s book, As I Lay Dying, and the lyrical imagery of Addie Bundren’s Odessy is indeed full of colourful and childlike whimsy. The album begins with ‘Mrs. Dalloway’, an eleven minute journey in which Hosch & Scully trade versus in a third-person narration exploring consciousness in the the modern world before erupting into a powerful electric piano versus triple kick-drum freak out.
The second side contains the mini opera ‘Don Quixote’, with a collection of shorter tracks. The tale of Dorain Grey, ‘Paint Me’ closes the album on a dark note. Addie Bundren’s Odyssey was not a commercial success, despite the club shows that Hosch & Scully performed to support it, and Polydor dropped the pair shortly after.
“We were happening. We had a great album. We had great backing musicians in a big, grand studio. I brought myself a collection of Perry Ellis three piece suits, multi coloured spats, and a wide brimmed Bailey! I was ready for the big time. And then Polydor gave us the kibosh.” Clemence bitterly recalled in an interview years later.
Their contract was quickly picked up by Paedamonte Records, who released the group’s second album, Requiem Theory, in June 1978. The album chartered successfully in Australia thanks to the first single ‘Lenore’, based on Edgar Allan Poe’s The Raven. At six minutes in length it was the only track deemed suitable for radio play and sold 20,000 copies in its first few months.
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As the duo promoted Requiem Theory around Australia, they became known for their lengthy and energetic live shows, which again featured Hosch’s impressive acrobatic skills. He would sometimes soar suspended above the crowd and perform on a multitude of keyboards while swinging from side to side over the entire venue.
Although she always referred to herself as a “drummer who sang, not a singer who drummed”, Scully’s vocals had became a major part of the group’s performances by the time the tour had reached Kalgoorlie. At 6 ft 13 in tall, she was still highly visible performing behind her drum kit at the back of the stage, but it was soon apparent to Hosch and the label that the audience wanted to see more of her. She eventually agreed to sing her solo numbers standing up front, returning to her drums for Hosch’s songs.
1980’s The Tapestry of Equinox, with the hit ‘Bonanza’, was recorded in two months at Rumble Studios in Sydney. Helped by strong American radio support, it reached No. 12 in the US Charts, where it eventually sold one million copies.
In June, Hosch & Scully appeared on the cover of Smash Hits, then flew to the US for their first international appearances. They performed as part of Texas Jam, on the 4 July weekend at the Dallas Cotton Bowl in front of 100,000 people, along with Foreigner, Sammy Hagar, The Eagles and Le Roux.
Hosch & Scully then spent two months supporting Judas Priest, who were in the middle of the North American Leg of their British Steel World Tour. They then flew to England to open for Kiss for five shows.
“We went abroad expecting nothing but had an amazing time over there.” Said Rachael upon their return to Australia. “Touring with Priest was one of the best moves we could have made – they were so great to us. The could’ve ignored us but they were really helpful and encouraging. I’d notice them in the wings wigging out to our show. Rob Halford loved watching Clem somersault and backflip.”
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Their next album, Far from Cronos, was produced by Mike Skater. Despite the albums disappointing initial sales compared to the previous release, the single ‘Mental Reality’ was a success, reaching No. 12 on the Billboard Chart in 1982. The album gained a large following in Asia, where in many countries it entered the Top 50.
Hosch & Scully returned to The US, for their first headline tour to promote Far From Cronos in August 1982. Even the harshest of American music industry critics were somewhat unanimous in their praise for Hosch’s glamorous use of the keyboards and Scully’s unique drumming. “The virtually unlimited musical ability of the two members combine to generate a sonic level which has not yet been achieved by many groups.” Wrote Kerrang Magazine’s Simon Crane. “Hosch & Scully are not merely musicians… They are cosmic creators!”
Scully was one of the first drummers to incorporate unusual instruments, such as the glockenspiel and electric cowbell, along with several standard kit elements, which helped create a highly varied setup and her signature Scully sound. A Rachael Scully solo was a much anticipated staple of every concert and in Drummerworld Reader’s Poll of 1982, she was voted rock drummer of the year by music fans, critics and fellow musicians.
As more singles were released and the album continued to chart, the Far From Cronos world tour seemed never ending to the duo. Dates were continuously being added across Europe, the United States and then back to Europe to accomodate ticket demand and following the final show in Barcelona on 3 September 1983, the duo announced an ‘indefinite hiatus’ as they had not had a break since graduating from university in 1975.
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Twelve Oceans, released in mid 1988, became the band’s fourth multi-platinum LP and helped their popularity continue to soar in Asian countries, where the group travelled for the first time that summer. Here and Beyond, a double CD and VHS live performance was filmed at Taipei National Concert Hall, in Taiwan on 15 February 1989. It stayed at the top of the Asian album charts for 36 weeks. The duo did not record again for three years.
Hosch & Scully maintained their profile by being subject of an episode of VH1’s Behind the Music in 1991. In the documentary Clemence and Rachael appeared in interviews both in their own homes and in various studios. Rachael proudly showed off her two children while Hosch modelled his collection of Florsheim leather shoes and short brim Trilbys.
When asked about any plans for a new album Clemence stated “We owe Bronson one more then that might be all darlings. We’re on indefinite hiatus for now. One more tour with Rachael and then I’d be fine. I’d be able to sail my Albino into the sunset. I’d be content.”
Sydney Morning Herald’s music writer, Andrew Holmes, said the duo’s constant use of the term ‘indefinite hiatus’ was a way to soften the blow of the group’s break up for fans, and he did not expect any future reunion.
The Foxtrot Dimension was recorded at Clemence’s home studio in Brisbane, with top session musicians and was produced by Kevin Hemly. The album featured some experimentally aggressive moments, but many of the tunes, including the galloping twenty minute title track, marked a stylistic return to Hosch & Scully’s epic sound of their early work.
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Released on 3 July 1993, The Foxtrot Dimension went gold in Australia and the US within two weeks. In the ensuing press release and tour promotion both Clemence and Rachael stated that this would indeed be the last of their collaborations.
Hosch & Scully’s final tour began with two sold-out nights in Anchorage, Alaska, and was billed as The Greatest Show on Earth. “This spectacle combined more flash, pomp and costume changes than any other concert I’ve seen — think eye-popping acrobatics, confetti, lights, disco balls and pyrotechnics. Their contemporaries should buy a ticket, sit back and take notes.” Wrote NME’s Roger Sharpe.
The tour continued for twelve months through North America, Asia, Australia and Europe, where it ended at Prague’s Strahov Stadium on 20 December 1994. During their encore Hosch openly shed tears as he flew in a Peter Pan inspired tuxedo, throwing roses to fans one final time while Scully dismantled her mammoth kit and threw it piece by piece into the crowd. It was the end of something magic and theatrical.
For Christmas that year Paedamonte Records released a Greatest Hits boxed set covering their early work. A second volume, focusing on the later part of their career, followed twelve months later.
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On 4 March 1995 Hosch turned 40 and set sail with his pint sized crew for a birthday bash which would go on to be one of the most discussed parties in rock history. For 6 months Albino island hopped from Port Philip Bay to the Greek Islands through to the Caribbean and hosted the la crème de la crème of the entertainment world. Complete with naked waiters and waitresses, live chickens, mud wresting and fireworks it became heralded as the best party of the 90s.
Hosch later appeared on the Australian Idol season finale in May 2003, performing a solo version of ‘Lenore’, and continued with the show as a judge for the next five seasons.
Rachael Scully remains a highly sought after session drummer and has gone on to record with the likes of Melissa Etheridge and Rick Springfeild. She divides her time between her home in Roquefort Le Pins, France, and her ranch in South Australia. An avid football fan, she performed a 14 minute percussive ‘re-imagining’ of the national anthem at the 2012 VFL Grand Final played between Hawthorn and Sydney.
In an interview with Men’s Fashion magazine in 2010, Clemence Hosch revealed that the duo never really liked to be referred to as Hosch & Scully. “There isn’t one album that says Hosch & Scully. It’s always Clemence Hosch and Rachael Scully, from the very beginning. People never took note of that. Including our own record company.”
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