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Divinyls (/dɪˈvaɪnəlz/) were an Australian rock band that were formed in Sydney in 1980. The band primarily consisted of vocalist Chrissy Amphlett and guitarist Mark McEntee. Amphlett garnered widespread attention for performing on stage in a school uniform and fishnet stockings, and she often used an illuminated neon tube as a prop for displaying aggression towards both band members and the audience.[1][2] Originally a five-piece, the band underwent numerous line-up changes, with Amphlett and McEntee remaining as core members, before its dissolution in 1996.[2]

In May 2001, the Australasian Performing Right Association (APRA), as part of its 75th-anniversary celebrations, named "Science Fiction" as one of the Top 30 Australian songs of all time.[3] The band was inducted into the Australian Recording Industry Association (ARIA) Hall of Fame in 2006[4][5][6] and in late 2007 Amphlett and McEntee reconvened to record a new single and begin working on a new album.[7] The band played a short series of live gigs in Australia in late 2007 and early 2008. Divinyls broke up in 2009, and Amphlett died in 2013.

Divinyls released five studio albums—four placed in the Top 10 Australian chart, while one (Divinyls) reached No. 15 in the United States (US) and No. 33 for 3 weeks in Canada. Their biggest-selling single "I Touch Myself" (1990) achieved a No. 1 ranking in Australia, No. 4 in the United States, No. 10 in the United Kingdom (UK), and No. 13 in Canada.[1]

Career

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1980s: Formation, Desperate, What a Life!, and Temperamental

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Amphlett was the first cousin of 1960s Australian pop icon Patricia "Little Pattie" Amphlett.[1][8] In her autobiography Pleasure and Pain (2005), Amphlett described breaking into the music scene from the age of fourteen, being arrested for busking when seventeen and travelling in Spain, and how her performances drew upon childhood pain.[9]

Amphlett and guitarist Mark McEntee were introduced by Jeremy Paul (ex-Air Supply) in the car park of a small music venue in Collaroy, Sydney, after Amphlett and Paul had finished a gig with their then band, Batonrouge. Amphlett and McEntee met again at the Sydney Opera House where Amphlett and Paul were singing in a choral concert in 1980.[1][9][10] They recruited keyboardist Bjarne Ohlin later in 1980 and drummer Richard Harvey in 1981, respectively,[11] and for almost two years they performed in pubs and clubs in Sydney's Kings Cross. During this time, Paul negotiated publishing and recording agreements that led to the band signing with WEA. Australian film director Ken Cameron saw Divinyls performing in a club. This led to them providing the soundtrack for his 1982 film Monkey Grip and also gave Amphlett, Paul and McEntee supporting roles in the movie.[12] The group released two singles from the soundtrack, Music from Monkey Grip EP,[13] "Boys in Town", which reached No. 8 on the national singles chart,[14] and "Only Lonely".[1] The band was the opening act at the 1983 US Festival.

After the band's initial success, original manager and bassist Jeremy Paul left.[10] He was replaced on bass, briefly by Ken Firth (ex-The Ferrets) and more permanently by Rick Grossman (ex-Matt Finish).[11] Grossman left in 1987 to replace Clyde Bramley in Hoodoo Gurus.[15] By early 1988, Divinyls consisted of Amphlett and McEntee with augmentation by additional musicians when recording or touring.[1]

Over the decade Divinyls released four albums, Music from Monkey Grip EP on WEA in 1982, Desperate on Chrysalis Records in 1983, What a Life! in 1985 and Temperamental in 1988.[11] The latter two albums were also released by Chrysalis in the United States.[11] They had hit singles in Australia with, "Science Fiction" No. 13 in 1983, "Good Die Young" No. 32 in 1984 and "Pleasure and Pain" which was written by Holly Knight and Mike Chapman and went No. 11 in 1985.[14] Their later manager Vince Lovegrove organised Divinyls' transfer from WEA to Chrysalis and their first tours of the United States.[1] They established a fan base there, without achieving major commercial success. Divinyls also had Australian hits with cover versions of The Easybeats' "I'll Make You Happy", and Syndicate of Sound's "Hey Little Boy" ("Hey Little Girl" with the gender switched) which reached No. 25 in 1988.[14] Amphlett became a controversial and highly visible celebrity for her brash, overtly sexual persona and subversive humour in lyrics, performances, and media interviews.[1][6][16][17]

Image transformation

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At the start of their popularity, Divinyls were considered to be a hard rock band. At some point, many fans referred to Amphlett as the female Angus Young (of AC/DC), as both had similar mannerisms on stage and wore school uniforms while performing in the early 1980s. Amphlett acknowledged Young's schoolboy outfit as the inspiration for her performing in a schoolgirl's uniform.[18] The band's image gradually changed after the release of the album What a Life! when the band began wearing elaborate clothing and producing more songs in the pop music genre. By the time of the release of their album Temperamental, Divinyls' image had changed to a glamour fashion style where they produced modern pop music.[citation needed]

1990s: diVINYLS & Underworld

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In 1991, Divinyls released diVINYLS on Virgin Records and the single "I Touch Myself" which became their only Australian No.1 single.[19] The song reached No. 4 in the United States and No. 10 in the United Kingdom. The majority of Divinyls' hits were co-written by Amphlett and McEntee,[1] but in this case they wrote with Tom Kelly and Billy Steinberg.[20] diVINYLS reached No. 5 on the Australian album charts[14] and No. 15 on Billboard Top 200.[21] The drummer for the diVINYLS sessions was Charley Drayton, who became romantically involved with Amphlett: they married in July 1999, and from 2000, lived together in New York. A disagreement with Virgin Records stifled future development outside Australia where they released popular albums and achieved two more top twenty singles with "I Ain't Gonna Eat Out My Heart Anymore" No. 19 in 1992 and "I'm Jealous" No. 14 in 1995.[14] During the 1980s and 1990s Amphlett collaborated as a songwriter with other artists including Chrissie Hynde and Cyndi Lauper, and both Amphlett and McEntee worked on solo projects.[1][10]

A live album, Divinyls Live, was released in 1991 but Divinyls did not provide another studio album for five years. In the early 1990s, they recorded a series of cover songs for various movie soundtracks, including the Young Rascals' "I Ain't Gonna Eat Out My Heart Anymore" for Buffy the Vampire Slayer (1992), the Wild Ones' "Wild Thing" for Reckless Kelly (1993), and Roxy Music's "Love Is the Drug" for Super Mario Brothers (1993).[1][22]

The song "I Touch Myself" caused such a controversy it had trouble getting airplay in many US-area markets; so much to the point that while performing their song live in Texas at Austin Aqua Fest 1991 the plug was pulled on the band mid-set by organisers.[citation needed]

It wasn't until 1996 that their fifth studio album, Underworld, was released in Australia by BMG.[11] Despite the success of diVINYLS, Virgin had not kept them under contract and BMG did not release Underworld in the United States. As with What a Life!, they worked with three producers, beginning with Peter Collins recording "I'm Jealous" in Nashville, followed by Keith Forsey for "Sex Will Keep Us Together" and "Heart of Steel".[1][10] Although "Heart of Steel" was chosen as a single, Divinyls discontinued working with Forsey because according to Amphlett "he was a bit too 'pop' for us" and remaining tracks were produced by their drummer Drayton.[9] By the end of 1996, Amphlett and McEntee had a falling out and separated without formally disbanding Divinyls.[7]

1998–2005: After the separation

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Following Underworld, Amphlett pursued a stage career. In 1998, she played the role of Judy Garland in the Australian stage production of the life story of entertainer Peter Allen, titled The Boy from Oz.[23] The production was a success and Amphlett's interpretation of Garland, during her final troubled years, brought her critical acclaim: she was nominated for the Helpmann Award for 'Best Female Actor in a Musical'.[24]

Amphlett and McEntee concentrated on solo projects and collaborations with other artists. Amphlett and Drayton lived in New York City from 2000, while McEntee ran a clothing label, Wheels and Doll Baby, in Perth with his partner, Melanie Greensmith.[25] In November 2005 Amphlett published her autobiography Pleasure and Pain: My Life co-written with Larry Writer;[9] she detailed her achievements, drug and alcohol abuse, love affairs and triumphs while a member of Divinyls.[26]

2006–2012: Hall of Fame and reformation

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Chrissy Amphlett in 2007

On 16 August 2006, Divinyls were inducted into the ARIA Hall of Fame and made their first performance for 10 years at the award ceremony.[7] They reformed shortly afterwards and a compilation, Greatest Hits, was released by EMI Music Australia in August 2006. The band recorded four new songs via a satellite link: Amphlett and Drayton at Palm Studios in Las Vegas and McEntee in Perth. A single and B-side, "Don't Wanna Do This"/"Asphyxiated", was released in November 2007, with a third track, "All Pretty Things", released on a compilation album for the Homebake Festival. Amphlett stated that the band would return to the studio to record a full album provided they "survived" their Homebake headline gig and national tour.[27]

They performed during the Australian Idol grand final at the Sydney Opera House, on 25 November 2007, although their performance of "Boys in Town" (also performed by Idol winner Natalie Gauci) had to be repeated after Network Ten's transmission feed was interrupted.[28] A national tour of Australia followed in December 2007 with a touring band featuring Drayton on drums, Jerome Smith on bass, Charlie Owen on guitar and newest member Clayton Doley on keyboards.[29] Amphlett revealed on 7 December 2007 that she had multiple sclerosis in an interview with Richard Wilkins on Network Nine's A Current Affair—nevertheless, she was looking forward to touring with Divinyls.[30] The next day, Divinyls headlined the Homebake music festival[31] where Amphlett displayed an emotional fragility when attempting to get the crowd to sing along with her.[32] In August 2009, Amphlett announced that Divinyls were finished and she had a new band in New York.[33]

2013–present: Death of Amphlett and aborted 2018 reformation

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Aged 53 years, Amphlett died on 21 April 2013 at her home in New York City after a protracted battle with breast cancer since 2010. Amphlett stated that she had been unable to receive radiotherapy or chemotherapy as treatment for the cancer due to her multiple sclerosis.[34] Amphlett's cousin Patricia Thompson announced the news in an official public statement: "Our beloved Chrissy peacefully made her transition this morning. Christine Joy Amphlett succumbed to the effects of breast cancer and multiple sclerosis, diseases she vigorously fought with exceptional bravery and dignity." In 2014, some of Australia's leading female artists came together to cover "I Touch Myself" to raise awareness and funds for breast cancer.[35][7][36]

In 2017, the band performed a one-off show in Perth with The Preatures' Isabella Manfredi and Jack Moffit joining as guests on lead vocals and rhythm guitar, respectively. McEntee, Grossman and Harvey completed the line-up.[37]

In December 2018, McEntee announced he would be reforming the group with new singer Lauren Ruth Ward, ex-Divinyls guitarist Frank Infante and a new rhythm section for an Australian tour, to begin in 2019.[38] However, this announcement was criticised by Drayton and several fans as an "ultimate disrespect", with Drayton stating that anyone other than Amphlett who fronted the Divinyls should "seek some trustworthy advice".[39] On 6 February 2019, the Australian tour was cancelled.[40]

In early January 2021, former band drummer Warren McLean died.[41] Original drummer Richard Harvey died on 19 July 2022, his passing announced on social media by his bandmate from The Party Boys Paul Christie.[42]

Band members

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Final line-up

  • Chrissy Amphlett – lead vocals (1980–1996, 2006–2009; died 2013)
  • Mark McEntee – guitar, backing vocals, keyboards[43] (1980–1996, 2006–2009)
  • Jerome Smith – bass (1991–1996, 2006–2009)
  • Charley Drayton – drums, percussion, backing vocals, occasional guitar, bass[44] and harmonica[45] (1990–1996, 2006–2009)
  • Clayton Doley – keyboards, backing vocals (2006–2009)
  • Charlie Owen – guitar (2006–2009; touring member in 1991)

Former members[1][11]

  • Jeremy Paul – bass (1980–1982)
  • Richard Harvey – drums (1980—1985; died 2022)
  • Bjarne Ohlin – keyboards, guitar,[46] backing vocals[47] (1980–1986)
  • Rick Grossman – bass (1982–1987)
  • J. J. Harris – drums (1985–1986)
  • Kenny Lyon – keyboards (1987)
  • Tommy "Mugs" Cain – drums (1987)
  • Tim Millikan – bass (1988–1989)
  • Warren McLean – drums (1988; died 2021)
  • Roger Mason – keyboards (1988–1990)
  • Tim Powles – drums (1989)
  • Randy Jackson – bass (1990–1991)
  • Benmont Tench – keyboards (1990–1991)

Touring/substitute musicians

  • Ken Firth – bass guitar (1982)
  • Matthew Hughes – keyboards, bass guitar (1987–1988)
  • Frank Infante – guitar (1987)
  • Jim Hilbun – bass (1991)
  • Lee Borkman – keyboards, guitar (1991)
  • Mark Meyer – drums (1991)
  • Duane Jarvis – guitar (1988)
  • Randy Wiggins – guitar (1993–1995)
  • Scott Kingman – guitar (1996)

Discography

[edit]
Main article: Divinyls discography

Studio albums:

Awards and nominations

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ARIA Music Awards

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The ARIA Music Awards is an annual awards ceremony that recognises excellence, innovation, and achievement across all genres of Australian music. They commenced in 1987. Divinyls were inducted into the Hall of Fame in 2006.[48]

Year Nominee / work Award Result
1991 "I Touch Myself" Single of the Year Nominated
2006 Divinyls ARIA Hall of Fame inductee

Countdown Australian Music Awards

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Countdown was an Australian pop music TV series on national broadcaster ABC-TV from 1974 to 1987, it presented music awards from 1979 to 1987, initially in conjunction with magazine TV Week. The TV Week / Countdown Awards were a combination of popular-voted and peer-voted awards.[49]

Year Nominee / work Award Result
1981 "Boys in Town" Best Australian Single Nominated
Best Debut Single Nominated
Themselves Best New Talent Nominated
1982 Monkey Grip Best Debut Album Nominated
Chrissy Amphlett (Divinyls) Most Popular Female Won
1983 Desperate Best Australian Album Nominated
1984 Christina Amphlett – "In My Life" (Divinyls) Best Female Performance in a Video Nominated

MTV Video Music Awards

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Originally beginning as an alternative to the Grammy Awards, the MTV Video Music Awards were established in the end of the summer of 1984 by MTV[50] to celebrate the top music videos of the year.

Year Nominee / work Award Result Ref.
1991 "I Touch Myself" Video of the Year Nominated [51]
Best Group Video Nominated
Viewer's Choice Nominated

See also

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References

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Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Divinyls

View on Grokipedia
from Grokipedia
Divinyls were an Australian rock band formed in in 1980, renowned for their energetic performances and provocative lyrics, with the duo of vocalist and guitarist at its core. The band rose to prominence in the Australian pub rock scene, achieving their breakthrough with the 1982 single "Boys in Town," which was featured in the film Monkey Grip and marked their entry into the national charts. Over the next decade, Divinyls released five studio albums, including Desperate (1983), What a Life! (1985), and Divinyls (1991), blending new wave, , and pop elements to build a both domestically and internationally. Their signature sound was defined by Amphlett's raw, sexually charged stage presence—often clad in a schoolgirl outfit—and McEntee's guitar riffs, which propelled like " and " (1988) and their biggest global success, "" (1990), co-written with hitmakers and Tom Kelly. Despite lineup changes and personal challenges, including their volatile relationship, Divinyls maintained a reputation as trailblazers, with Amphlett hailed as a trailblazing feminist rock icon for challenging norms in music. The band effectively disbanded in 1996 following the end of Amphlett and McEntee's romantic relationship in the early 1990s and a subsequent professional falling out, though they briefly reunited for performances in the . Amphlett's death from and in 2013 at age 53 cemented the group's legacy, inspiring tributes and revivals of their , including shows as of 2025.

Overview

Formation and early career

The Divinyls were formed in 1980 in , , by lead vocalist and guitarist , who were introduced through mutual connections in the city's vibrant pub scene amid the rising punk and new wave movements. Amphlett, known for her bold stage presence, had previously fronted cover bands, while McEntee brought experience from local rock outfits; their collaboration quickly coalesced around Amphlett's provocative lyrics and McEntee's driving guitar riffs, establishing the band's raw, energetic core. The initial lineup featured Amphlett on vocals, McEntee on guitar, Bjarne Ohlin on guitar and keyboards, Richard Harvey on drums, and Jeremy Paul on bass, delivering intense live sets that captured the era's rebellious spirit. Early performances at Sydney pubs and clubs, such as those in the Kings Cross district, helped build a dedicated local following, with the band's unpolished, high-energy shows drawing crowds eager for the post-punk edge. These gigs showcased their ability to blend aggression with melody, solidifying their reputation in Australia's underground music circuit before broader exposure. In 1981, the Divinyls signed a worldwide deal with , marking a pivotal step toward professional recording. Their debut single, "Boys in Town," released that year, captured the band's gritty take on urban nightlife and achieved modest success by peaking at number eight on the Australian charts. This track's punchy and Amphlett's snarling delivery highlighted their potential, paving the way for further development. The band's debut album, Desperate, arrived in 1983, recorded in New York under the production of Australian engineer Mark Opitz, who emphasized the group's live intensity while refining their sound for international appeal. Featuring standout tracks like "Shaking Like a Human Being," which pulsed with frantic energy and raw emotion, the album encapsulated the Divinyls' early fusion of new wave hooks and rock urgency. Opitz's involvement, drawing from his work with acts like and , ensured a polished yet authentic debut that propelled the band beyond local stages.

Core members and lineup evolution

The Divinyls were founded as a creative partnership between Chrissy Amphlett and Mark McEntee, who formed the band's enduring core from its inception in 1980 until its initial dissolution in 1996. Amphlett, renowned for her provocative stage presence that energized performances and influenced the band's image, delivered powerful vocals and contributed to songwriting alongside McEntee, the primary composer and longest-serving member who handled and backing vocals. The early 1980s lineup expanded to include Bjarne Ohlin on guitar and keyboards from 1980 to 1986, providing multi-instrumental support for the band's initial and club performances; Richard Harvey on from 1980 to 1985 (died 2022), establishing the rhythmic foundation; and Jeremy Paul on bass from 1980 to 1982. These members helped shape the group's raw new wave sound during its formative years. Mid-1980s shifts saw departures and new additions, including Rick Grossman on bass from 1982 to 1986 and J.J. Harris on drums from 1985 to 1986. This period supported albums like What a Life! (1985). A relatively stable touring and recording core formed in 1986 comprising Amphlett, McEntee, Randy Jacobs on guitar from 1986 to 1988, and on drums from 1986 to 1988, contributing to later releases such as Temperamental (1988). In the , the roster continued to evolve with Tom Watson on keyboards from 1988 to 1990, while later projects relied heavily on session musicians; for instance, the self-titled album (1991) featured on bass, on piano and organ, and on drums for recording, with touring members including Jim Hilbun on bass. These changes reflected a shift toward a duo-led configuration augmented by collaborators as the band navigated major commercial success before disbanding in 1996. The band reformed briefly in 2006 after induction into the , incorporating temporary members for tours such as on drums and Jerome Smith on bass through 2009. Amphlett's diagnosis with in 2007 and in 2010 prompted a hiatus, and her death on April 21, 2013, at age 53 marked the end of the original lineup. In 2024, McEntee announced a of the Divinyls with a new lineup for an Australian tour, but it was cancelled in 2025. Various tribute performances and musicals honoring Amphlett and the band, such as Amplified (2025), have continued to celebrate their legacy, with no full reunions of the original members occurring thereafter.

Musical style and image

Genre influences and sound evolution

The Divinyls' core sound fused new wave and rock, drawing from punk roots in the late 1970s pub rock scene while evolving toward pop-rock and alternative styles by the 1990s. Their debut album Desperate (1983) captured a raw, post-punk energy through hard rock and contemporary pop/rock arrangements, highlighted by Chrissy Amphlett's versatile vocals ranging from high-pitched yelps and growls to tender pleas. This foundation reflected the band's emergence from Australia's punk-influenced underground, prioritizing abrasive guitar-driven hooks over polished production. By What a Life! (1985), the Divinyls shifted to a more mature, radio-friendly polish, blending new wave with pop elements and incorporating sophisticated production techniques like atmospheric synth layers for added depth. Frequent collaborations with producer Mark Opitz helped craft their distinctive Australian rock sound, emphasizing tight rhythms and accessible melodies while retaining rock intensity. The 1988 album Temperamental further diversified this evolution, merging riffs with structures and introspective ballads, maintaining a balance of aggression and melody in contemporary frameworks. Into the 1990s, diVINYLS (1991) marked a peak in their pop-rock refinement, prioritizing catchy choruses and alternative edges over earlier rawness, with lyrics co-written by Amphlett and delving into themes of sexuality, empowerment, and relationships. These thematic elements, often bold and unapologetic, underscored the band's progression from punk provocation to mainstream allure, using self-exploratory narratives to amplify emotional and sensual resonance.

Visual persona and cultural impact

Chrissy Amphlett cultivated an iconic stage persona characterized by a schoolgirl featuring a , , and a provocative demeanor that blended rebellion with sexual confidence. This look drew inspiration from 1970s punk aesthetics but evolved in the 1980s to emphasize , particularly in music videos where Amphlett's intense gaze and physicality amplified the band's raw energy. She adopted the uniform to boost her confidence and create a stage image, inspired in part by AC/DC's Angus Young's schoolboy outfit. The Divinyls' overall aesthetic revolved around high-energy, gender-bending performances that challenged traditional rock norms, with Amphlett's commanding presence often blurring lines between aggression and allure. In the , the band transitioned from the gritty punk roots of their early shows to a more glamorous rock image, evident in polished like "Pleasure and ," where Amphlett shifted from her schoolgirl attire to edgier, leather-clad looks amid industrial sets that heightened the song's themes of desire and turmoil. This evolution reflected broader MTV-era influences, positioning the Divinyls as visually dynamic forces in rock while maintaining their unapologetic edge. In , the Divinyls served as pioneers of female-fronted rock, embodying the Sydney pub rock scene's raw vitality through relentless live gigs at venues like in Kings Cross. Amphlett's fierce, unpredictable performances—marked by physical audience engagement and character-driven antics—elevated the band as trailblazers, inspiring a generation of women in the male-dominated genre and representing the unfiltered spirit of Australian rock culture. Globally, the Divinyls achieved a breakthrough in 1991 with the "" video, whose feminist undertones—celebrating female self-pleasure through Amphlett's bold, sensual visuals—contributed to the single's chart success, reaching number four on the US Billboard Hot 100 and broadening the band's international appeal. This empowering imagery resonated amid shifting cultural discussions on women's sexuality, helping propel the Divinyls from Australian icons to global rock staples. Following Amphlett's death in , her legacy has been celebrated in tributes highlighting her transformative role for , including Australia's 2021 ranking of the Divinyls at number 18 among the 50 greatest Australian artists, where contributors praised her as a magnetic force who redefined female stage power and influenced acts like . These recognitions underscore Amphlett's enduring impact, positioning her as a symbol of defiance and artistry in ongoing conversations about gender in music.

Career highlights

1980s: Breakthrough albums and image shift

The Divinyls achieved commercial breakthrough in with their second studio album, What a Life!, released in October 1985 by . Produced by , the album blended new wave and rock elements, peaking at number 4 on the charts and remaining on the top 100 for 32 weeks. Its lead singles, "What a Life" and "Pleasure and Pain," contributed to the success, with "Pleasure and Pain" reaching number 11 on the Australian singles chart. The release marked a pivotal moment, solidifying the band's domestic popularity after their earlier efforts. During this period, the Divinyls shifted their image from raw punk influences to a more polished pop-rock style, enhancing their appeal for broader audiences and video promotion. Christina Amphlett refined her provocative schoolgirl persona—featuring a plaid skirt, stockings, and —into a more MTV-friendly iteration that emphasized glamour and sexuality while retaining edge. This transformation aligned with the album's accessible sound, helping the band transition from underground scenes to mainstream visibility. The band's momentum continued with their third album, Temperamental, released in 1988, also on Chrysalis and produced by Chapman. It peaked at number 11 on the Australian charts, supported by extensive national tours that showcased their evolving live energy. The "Back to the Wall" entered the top 50, reaching number 33 and highlighting themes of resilience amid the album's temperamental rock tones. Internationally, the Divinyls ventured into the market with early tours in , including performances at the alongside , which exposed them to American audiences as opening acts. Internally, tensions began to emerge over management and creative control with Chrysalis, straining band dynamics as Amphlett and guitarist navigated rising expectations.

1990s: Major success and band tensions

The Divinyls achieved their greatest commercial breakthrough in the early with the release of their self-titled fourth studio album, Divinyls, on January 29, 1991, via . The lead single, "," co-written by band members Christina Amphlett and alongside Tom Kelly and , became their most successful track, peaking at No. 1 on the Australian charts and No. 4 on the in May 1991. The song's bold exploring self-pleasure, paired with its energetic rock arrangement and provocative , garnered heavy rotation and propelled the band to international audiences, including nomination for an MTV Video Music Award in the Best Female Video category. This success enabled extensive global promotion, with the band embarking on the "I Touch Myself World Tour" from 1991 to 1992, featuring performances across the and to capitalize on the single's momentum. The album itself marked a commercial high, reflecting the band's polished new wave-influenced sound honed from their foundation. Amphlett's commanding stage presence, often highlighted in fishnet stockings and schoolgirl attire, amplified their visual appeal during these tours, drawing large crowds in American venues. By mid-decade, momentum waned as the band navigated label changes and internal strains. Their fifth and final studio album, , arrived on November 11, 1996, through BMG Records, showcasing a darker, more introspective edge with tracks like "Hard On Me" and the single "Hard On Me." Despite critical praise for its raw energy, the release faced declining sales compared to Divinyls, amid a shifting landscape favoring and . The band supported the album with an Australian tour in 1996, performing at venues like Leagues Club, but commercial viability struggled. Tensions escalated through the decade, fueled by creative differences between Amphlett and McEntee over artistic direction and personal dynamics. These conflicts, compounded by the pressures of international expectations, led to the band's dissolution in late after Amphlett and McEntee's romantic relationship ended. In the ensuing hiatus, Amphlett explored solo songwriting opportunities and collaborations, while McEntee ventured into production and other musical endeavors outside the Divinyls framework.

2000s–2010s: Reformation, hiatus, and legacy

Following the band's informal split in late 1996 amid ongoing tensions between core members and , Divinyls entered a prolonged hiatus from 1998 to 2005. During this period, Amphlett grappled with emerging health challenges, including her diagnosis revealed in December 2007, while McEntee expressed reluctance to pursue a full reunion due to personal and creative differences. The duo maintained minimal contact, with the band limited to sporadic one-off appearances, such as Amphlett's occasional guest spots at events, but no sustained activity or new recordings emerged. The band's fortunes shifted in 2006 with their induction into the on August 16 in , marking their first public performance together in a decade. This milestone prompted a formal reformation, leading to the "Don't Wanna Do This" national tour in late 2007 and early 2008, featuring a setlist of original hits like "" and "Pleasure and Pain," backed by drummer , bassist Jerome Smith, and guitarist Charlie Owen. The tour, which included stops at venues like the in and the Forum in , drew strong crowds and rekindled interest in their catalog, though no new studio material was released at the time. From 2007 to 2012, Divinyls maintained intermittent activity with additional live outings, including festival appearances at events like Homebake in , but these proved to be their final tours as Amphlett's health deteriorated due to and later , leading to her retirement from performing. By 2009, the group had effectively disbanded again, with Amphlett prioritizing treatment for her conditions. Tragically, Amphlett passed away on April 21, 2013, at age 53 in , succumbing to complications from —diagnosed in 2010—and . In December 2018, McEntee announced plans for a Divinyls reformation tour in early , featuring a new vocalist to honor Amphlett's legacy, but the effort collapsed amid public backlash and internal disputes, including criticism from Amphlett's widower, , who called it an "ultimate disrespect." The tour was officially cancelled in February due to "unforeseen circumstances," with full refunds issued. Since Amphlett's , no new has been produced under the Divinyls name, and McEntee has limited his involvement to occasional interviews reflecting on the band's , such as discussions in 2017 and about potential biopics and legacy projects. Australian media marked the 10th anniversary of Amphlett's passing in 2023 with tributes, including Rolling Stone Australia's feature on Divinyls as one of the nation's 50 greatest artists. As of November 2025, the band remains inactive, though Amphlett's legacy endures through 2025 tributes such as the cabaret show Amplified and covers by artists like Kate Ceberano.

Discography

Studio albums

The Divinyls released five studio albums over the course of their career, spanning new wave, rock, and pop influences, with each record showcasing the band's evolving sound led by Christina Amphlett's vocals and Mark McEntee's guitar work. These albums were primarily issued through major labels like Chrysalis and Virgin, reflecting the group's commercial ambitions in Australia and internationally. Their debut studio album, Desperate, arrived in January 1983 via Chrysalis Records. Produced by Mark Opitz, the 10-track effort captured the band's raw energy with post-punk edges, featuring standout tracks like "Boys in Town" and "Only the Lonely," which highlighted Amphlett's commanding presence and the group's knack for catchy, attitude-driven hooks. The album marked their breakthrough in Australia, peaking at No. 5 on the national charts and establishing key singles that propelled their early live circuit success. What a Life!, the follow-up, was released in October 1985, also on Chrysalis, with production shared among Mark Opitz, , and to refine the band's rock sound into a more polished new wave aesthetic. Comprising 10 tracks, it included hit singles "What a Life" and "Pleasure and Pain," the latter becoming a staple for its infectious chorus and Amphlett's bold delivery. The record achieved commercial traction, reaching No. 4 on the Australian albums chart, underscoring the band's growing domestic popularity amid lineup changes. In 1988, Temperamental emerged as the third studio outing, released through Chrysalis with handling production to emphasize a harder rock edge blended with pop sensibilities. The 10-track album spotlighted singles "Back to the Wall," which peaked at No. 33 in , and "Punxsie," showcasing the band's thematic depth on rebellion and relationships. It climbed to No. 11 on the Australian charts, solidifying their reputation for dynamic, guitar-driven anthems during the late 1980s. The self-titled diVINYLS (stylized as such) followed in January 1991 on , produced by the band alongside , marking a shift toward mainstream pop-rock accessibility. This 11-track release featured the major hit "," co-written by external songwriters Tom Kelly and , which topped the Australian charts and reached No. 4 on the , propelling the album to No. 5 in and No. 15 on the 200. Other notable tracks like "Make Out Alright" contributed to its polished production and global breakthrough. The band's final studio album, , was issued in August 1996 by BMG, with producing most of its 14 tracks to explore introspective themes amid personal band tensions. Key singles included "I Believe in You" and "Human on the Inside," the latter addressing vulnerability in relationships with Amphlett's signature intensity. Despite its artistic maturity, the album peaked at No. 47 on the Australian charts, serving as a contemplative close to their original run before hiatus.

Singles and compilations

The Divinyls' singles discography features a series of releases that captured their raw new wave energy and evolving pop-rock sound, with several achieving commercial success in during the and . Their debut single, "Boys in Town," released in 1981, marked their entry into the music scene and peaked at No. 8 on the Australian charts, establishing Christina Amphlett's distinctive vocals and the band's pub-rock roots. This track was backed by "Only You" and served as a precursor to their early EP. Other early singles like "" (1982, No. 13) and "Pleasure and Pain" (1985, No. 11) followed, blending punk influences with catchy hooks and contributing to their growing domestic popularity. In the late and early , the band achieved their biggest hits. "" (1990) became their signature song, reaching No. 1 on the charts for 2 weeks (21 weeks total on chart) and becoming a global anthem for female empowerment with its bold lyrics and infectious melody. The follow-up "Love School" (1991) charted at No. 43 in , offering a funkier edge with remixes and an instrumental B-side that highlighted their experimental side. Later, "Human on the Inside" (1996) peaked at No. 59, serving as a reflective closer to their active years with introspective lyrics over driving guitars. These singles often included B-sides like instrumentals or alternate mixes, such as the full mix master for "Love School," which extended their club appeal. Internationally, the Divinyls targeted the market with promo releases, including "Heart Telegraph" in 1985 as the B-side to "Pleasure and Pain" on , aimed at radio play but not achieving mainstream chart success. No major posthumous singles or remixes were released following the band's hiatus, though their catalog has seen digital reissues preserving the original 1980s–1990s era tracks. The band's early output included the 1982 EP Music from Monkey Grip, a four-track for the Australian of the same name, featuring "Boys in Town," "Only Lonely," "Elsie," and "Only You." This EP captured their gritty, live-wire sound and was their first major release beyond singles.
YearSinglePeak Position (Australia)Notes
1981Boys in Town8Backed by "Only You"; debut hit from Music from Monkey Grip EP.
1990I Touch Myself12 weeks at No. 1 (21 weeks on chart); international breakthrough.
1991Love School43Edit version; B-side instrumental remix.
1996Human on the Inside59From Underworld; reflective rock track.
The Divinyls also issued several compilation albums that retrospectively showcased their career, focusing on hits and rarities without duplicating full studio tracklists. Essential (1991), released by Chrysalis, compiled 12 key tracks spanning their early years, including "Pleasure and Pain" and "Only Lonely," serving as an accessible entry point for fans. Greatest Hits (2006) expanded to 20 tracks, emphasizing their chart-toppers like "I Touch Myself" and "Boys in Town" alongside deeper cuts, reflecting their enduring Australian legacy. Later, Make You Happy: 1981–1993 (Hits, Rarities & Essential Moments of an Incendiary Australian Band) (1997, with reissues into the 2010s) offered 20 selections with B-sides and live versions, such as alternate mixes of "Siren (Never Let You Go)," providing a comprehensive overview of their incendiary era. These compilations highlight the band's transition from underground favorites to radio staples, often including remastered audio for modern listeners.

Recognition and legacy

Awards and nominations

The Divinyls received several accolades throughout their career, primarily from Australian music ceremonies, with their international recognition peaking around their hit "." At the Countdown Australian Music Awards, vocalist won Most Popular Female in 1982. The band earned nominations at the 1991 ARIA Music Awards for Single of the Year with "I Touch Myself." They were inducted into the ARIA Hall of Fame in 2006, honoring their enduring impact on Australian rock music. In 2018, Amphlett was posthumously inducted into the Music Victoria Hall of Fame. Internationally, the music video for "I Touch Myself" received a nomination for Best Female Video at the 1991 MTV Video Music Awards.

Cultural influence and tributes

The Divinyls exerted a profound influence on Australian rock music, particularly by challenging gender norms and inspiring subsequent generations of female-fronted bands. Chrissy Amphlett's commanding stage presence and unapologetic sexuality positioned her as a trailblazer for during the 1980s and 1990s, paving the way for acts like through her embodiment of empowerment and defiance in a male-dominated industry. Her persona, often likened to a "female " for its raw energy, helped normalize bold female leadership in rock, influencing media portrayals of women as assertive icons rather than mere performers. Globally, the band's hit "" (1990) transcended its origins as a song about self-pleasure to become a symbol of female autonomy and health awareness. Following Amphlett's death in 2013, the track was repurposed for campaigns, notably through the 2014 I Touch Myself Project, which featured covers by artists including , , and to promote self-examinations. In 2018, recorded a version for Breast Cancer Network , amplifying its message during Awareness Month and reaching millions via and television. These efforts transformed the song into an enduring anthem for women's health, with ongoing uses in awareness initiatives worldwide. Tributes to the Divinyls have underscored their cultural resonance, particularly after Amphlett's passing. In 2013, a memorial concert was organized in to honor her legacy, featuring performances by Australian rock peers and drawing crowds to celebrate the band's contributions. In 2021, Australia ranked the Divinyls at No. 18 on its list of the 50 Greatest Australian Artists of All Time, with contributors like of praising Amphlett's transformative impact on rock's gender dynamics. Media portrayals have further cemented the band's influence, blending with elements. Amphlett's 2007 memoir Pleasure and Pain: My Life, co-written with Larry Writer and updated in subsequent editions, offers an intimate account of her life and the Divinyls' journey, highlighting her role as a cultural provocateur. Australian television specials, such as the 2008 Australian Story episode "All the Boys in Town" and the restored 1987 Australian Made, aired in 2021, incorporate archival footage and interviews to explore the band's raw energy and societal disruptions. As of 2025, the Divinyls' legacy persists through a streaming resurgence, with over 173 million Spotify streams reflecting renewed interest among younger audiences via playlists and viral shares, despite no official new releases. Fan-driven revivals, including the 2025 musical Amplified—a biographical tribute to Amphlett starring Sheridan Harbridge—continue to evoke her spirit through live performances, ensuring the band's cultural footprint endures without formal band activity.

References

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