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Mark McEntee

Mark McEntee (born 16 July 1952) is an Australian rock guitarist and songwriter, best known as the co-founder and lead guitarist of the band . Formed in in 1980 with vocalist , whom McEntee met following her church choir performance, Divinyls achieved commercial success through McEntee's guitar work and co-compositions on tracks like "Boys in Town" (1981) and the international hit "" (1990), the latter peaking at number four on the US Hot 100. McEntee's earlier career included stage work on the 1975 Australian production of and a brief stint with in 1977 before co-founding , with the band maintaining its core duo dynamic through multiple lineup changes until Amphlett's death in 2013. Following Amphlett's passing, McEntee revived for national tours in 2019 with a new ensemble, emphasizing the band's enduring catalog of songs he co-authored.

Early life

Upbringing and family

Mark McEntee was born on 16 July 1952 in , . Public records regarding his family background, including parental influences or siblings, remain limited and undocumented in available biographical sources. Details on his formative years prior to musical involvement, such as non-musical education or early employment, are similarly sparse, with no verifiable accounts of socioeconomic context shaping his interests beyond his origins in .

Initial musical pursuits

Mark McEntee was born on 16 July 1952 in , , where he first engaged with music through guitar playing during his formative years. He demonstrated an aptitude for the instrument, beginning with available guitar lessons that provided foundational techniques, though his development relied heavily on personal initiative and sustained self-motivated practice. By the early 1970s, McEntee's pursuits reflected the growing influence of Australia's rock-oriented local music culture, characterized by guitar-centric sounds emerging in regional scenes. This period marked his transition from amateur experimentation to more structured skill-building, amid a national landscape where venues increasingly hosted raw, energetic performances by aspiring musicians, though specific pre-professional engagements remain sparsely recorded.

Pre-Divinyls career

Mother Lode

was a rock trio formed in , , during the early 1970s, consisting of Mark McEntee on lead and and vocals, Howard Shawcross on and vocals, and Peter Nelson on drums. The band operated within the burgeoning Australian pub rock scene, performing at local venues such as the Star and Garter Hotel and outdoor events in areas like Bunbury. The group's sole known release was the single Music of Mother Lode, featuring "Smother Me" as the A-side—recorded live and co-written by McEntee and Shawcross—and "Flying" as the B-side, issued on a custom pressing in the 1970s. McEntee's contributions centered on his guitar work, which drove the band's raw, energetic sound suited to pub audiences, alongside shared vocal duties that highlighted the trio's collaborative dynamic. While achieving modest local traction through live performances, the single remains a rare artifact, underscoring the band's limited commercial footprint beyond Western Australia's regional circuit. McEntee departed around 1975 to explore broader musical endeavors, including stage productions, leaving the band to dissolve amid the competitive local scene. This transition reflected the transient nature of early-1970s pub rock outfits, where musicians often moved between projects for greater opportunities.

Air Supply involvement

Mark McEntee served as lead guitarist in 's original lineup during the band's formation in 1975, providing rhythmic and melodic guitar elements to their emerging style alongside vocalists and , bassist Jeremy Paul, and drummer Jeff Browne. He contributed guitar tracks to the band's self-titled debut album, recorded and released in in late 1976 by Records, which included tracks like "Love and Other Bruises" and peaked at number 26 on the chart. The album's production by Peter Dawkins emphasized harmonious ballads and accessible melodies, with McEntee's playing supporting the group's foundational sound before their later international success. McEntee departed by early 1977, prior to the recording of the follow-up album , where he was replaced by on guitar. His exit coincided with shifts in the band's personnel as they toured domestically and sought broader appeal, allowing McEntee to redirect his efforts toward new projects in Sydney's music scene.

Formation and early development

Divinyls was formed in in when guitarist Mark McEntee was introduced to vocalist following one of her performances. The pair quickly established a creative partnership, recruiting bassist Jeremy Paul—previously of —for the initial lineup, alongside keyboardist Bjarne Ohlin and later drummer Richard Harvey. McEntee and Amphlett's songwriting collaboration provided the band's stylistic foundation, drawing from Sydney's raw pub rock scene and incorporating elements characterized by energetic rhythms and Amphlett's versatile vocal delivery. The band performed regularly in Sydney's Kings Cross pubs, building a local following amid frequent lineup adjustments as members came and went. Their early sound emphasized forceful guitar work from McEntee and Amphlett's emotive, range-spanning vocals, blending punk-inflected aggression with accessible rock structures. Divinyls' debut single, "Boys in Town"—written by McEntee and Amphlett— was released independently in 1981 and gained exposure through its inclusion in the 1982 film Monkey Grip soundtrack, alongside tracks like "Only Lonely" and "Elsie." This led to the release of the Music from Monkey Grip EP on WEA Records in 1982. The band's rising profile attracted interest from major labels, culminating in a signing with , which facilitated recording sessions in for their debut album Desperate in 1983.

Commercial breakthrough and hits

The Divinyls achieved a significant commercial milestone in 1985 with their second album What a Life!, released on October 28, which peaked at number 4 on the charts and spent 32 weeks there, marking a step up from their debut's performance. The lead single "Pleasure and Pain," released earlier that year, reached number 11 in and charted for 24 weeks starting September 23, contributing to the band's rising domestic profile through its blend of and rock elements. Mark McEntee, as lead guitarist, provided the driving riffs and raw sonic texture that underpinned the track's energy, aligning with the band's unpolished aesthetic despite the song being penned by external writers and . This period solidified the Divinyls' provocative Australian rock identity, amplified by music videos that showcased Christina Amphlett's bold stage presence—often in schoolgirl attire—against McEntee's gritty guitar work, evoking a sense of unfiltered rebellion in rock visuals. The album's number 91 peak on the US hinted at emerging international interest, setting the stage for broader breakthroughs. The band's global ascent peaked with the 1990 single "" from their self-titled album, co-written by McEntee, Amphlett, , and , which captured raw emotional intensity through McEntee's contributions to the song's structure and his incisive guitar lines. It debuted on charts at number 77 on December 3, 1990, before hitting number 1 there in February 1991, while reaching number 4 on the US and number 10 in the UK, becoming their highest-charting release. McEntee's songwriting partnership with Amphlett, evident in the track's direct lyrical edge and musical drive, helped propel the beyond regional success, with the video's unapologetic sensuality reinforcing their signature image.

Album discography and evolution

Divinyls released their debut studio album, Desperate, in 1983, establishing a raw and post-punk-inflected rock sound driven by McEntee's angular, riff-based guitar work that underpinned Amphlett's urgent vocals and the band's energetic . The album captured the group's early punk-leaning edge, with McEntee contributing key songwriting elements alongside Amphlett, emphasizing choppy rhythms and direct, pub-rock influences over polished production. The follow-up, What a Life!, arrived in October 1985, refining the debut's intensity into a more accessible rock framework while retaining sensibilities, as McEntee's guitar lines provided structural backbone for tracks blending pop hooks with harder edges. This period marked initial stylistic consolidation, shifting slightly from experimental rawness toward radio-friendly structures without diluting McEntee's riff-driven contributions, which added muscular texture to the arrangements. By Temperamental in May 1988, the band's sound evolved toward modern pop-rock with elements, where McEntee's guitar adopted a more layered, atmospheric role, supporting broader production that highlighted melodic maturity over early abrasiveness. McEntee's input remained central in crafting riff motifs that bridged remnants to emerging tendencies, reflecting growing songwriting sophistication amid lineup flux. The self-titled (1991), released on January 29, represented a commercial peak and stylistic pivot to harder, riff-centric rock, with McEntee co-producing alongside Amphlett and to emphasize his prominent guitar textures and mature compositional depth. Certified in the United States for 500,000 units shipped, the album showcased evolved production that amplified McEntee's idiosyncratic riffs, transitioning from angularity to robust, arena-oriented rock dynamics. Underworld, issued November 11, 1996, concluded the studio output with a darker, rock tone, where McEntee's guitar riffs delivered heavier, more propulsion, underscoring the band's maturation into nuanced amid persistent core duo dynamics. This final effort highlighted stylistic culmination, prioritizing riff-driven causality and empirical songcraft over earlier genre experimentation.

Breakup, reunion, and dissolution

The Divinyls effectively disbanded by the end of 1996 after core members Christina Amphlett and Mark McEntee experienced a personal falling out, rooted in their long-standing volatile romantic and professional relationship characterized by and use, as well as physical confrontations. McEntee, who had co-written many of the band's songs with Amphlett, later reflected on the split as stemming from irreconcilable personal strains that overshadowed creative collaboration, leading to a decade of minimal communication between them. Following the band's 2006 induction into the , McEntee and Amphlett resumed contact and reunited the for a series of Australian tours starting in late 2006, with McEntee handling guitar duties alongside Amphlett's vocals and a rotating . The reunion produced a new single, "Don't Wanna Do This," intended to recapture their raw energy, though McEntee noted the challenges of reconciling past tensions while focusing on live performances rather than extensive new material. Activities wound down by 2009 amid Amphlett's advancing , which had been diagnosed years earlier and increasingly limited her mobility and performance capabilities, prompting McEntee to prioritize her health over further band commitments. Amphlett's subsequent diagnosis in 2010 and her death on April 21, 2013, from complications of both conditions marked the irreversible dissolution of the , as McEntee viewed the duo's partnership as inseparable from the band's identity.

Post-Amphlett era and touring controversies

Following the death of Christina Amphlett on April 21, 2013, co-founder and Mark McEntee maintained ownership of the band's name and rights. In December 2018, McEntee announced a national Australian tour under the moniker, scheduled to commence in March 2019, featuring a new lineup without Amphlett. The ensemble included McEntee on guitar, vocalist Lauren Ruth Ward, Matt Dyktynski, bassist , and keyboardist Chris Potter, with the setlist focused on the band's rock-oriented catalog such as "Pleasure and Pain" and "Boys in Town," explicitly avoiding ballads. McEntee described the tour as a means to celebrate and preserve ' musical legacy, stating it would honor the songs he co-wrote by performing them live for fans. The announcement drew significant backlash from fans and Amphlett's widower, , who labeled the tour plans as the "ultimate disrespect" to Amphlett's memory, arguing it exploited her legacy approximately six years after her passing from and complications. Critics accused McEntee of "cashing in" on the band's fame tied to Amphlett's iconic performances, with online petitions and campaigns urging a and questioning the of reviving the name without its central figure. Supporters countered that McEntee, as the primary songwriter and surviving founder, held the legitimate right to continue the music, viewing the effort as a continuation of ' rock contributions rather than a , and encouraged audiences to judge the performances on merit. No formal legal challenges over band name usage emerged from the controversy, though debates persisted among fans regarding trademark implications and Amphlett's estate. McEntee responded to detractors by inviting skepticism but emphasizing the new vocalist's capabilities, noting, "Wait until you hear Lauren Ruth Ward before bagging the rebooted band." The tour was ultimately cancelled on February 6, 2019, prior to its launch, with promoters citing insufficient ticket sales amid the public outcry, though McEntee expressed intent to revisit live performances in the future.

Later career

Solo and collaborative projects

In 2016, McEntee launched the Guitar Legends series in partnership with Sydney retailer Big Music and the , hosting exclusive events at their location that featured live performances, demonstrations, and discussions of iconic Australian guitar techniques and songs. These sessions highlighted McEntee's expertise in rock guitar styles, drawing on his experience to showcase influences from music history, with an initial event scheduled for May of that year. McEntee has also pursued songwriting collaborations outside his primary band affiliations, including co-authoring "Devil Loose," a track released on September 29, 2025, as the debut solo single by producer and former guitarist . Recorded in Vanda's home studio prior to the , the song critiques contemporary global unrest through gritty guitar-driven rock, with McEntee providing contributions alongside musicians such as Byrnes on drums and Dario Bortolin on bass. Vanda, whom McEntee has credited as a foundational figure in Australian music, selected the collaboration to mark his return to performing after decades focused on production.

Recent activities and ventures

In June 2020, McEntee guest programmed the Australian music television program on , curating a of video clips that aired twice on —once from 11 a.m. to noon and again from 11 p.m. This appearance highlighted his enduring connection to ' catalog amid nostalgia-driven media engagements. In November 2024, McEntee and his long-term partner, fashion designer Melanie Greensmith, acquired a beachfront apartment in Cottesloe, a coastal suburb of , , for A$3.5 million. The purchase reflects a relocation from to , aligning with reports of the couple embracing a more relaxed lifestyle by the . No new musical tours, recordings, or performances by McEntee have been announced since 2020 as of October 2025.

Personal life

Relationships and family

McEntee concluded his first marriage around 1980-1981, prior to commencing a romantic involvement with singer in 1982 that persisted until 1993. Their relationship was described as highly volatile, with conflicts intensified by alcohol and drug consumption. Following the end of that partnership, McEntee began a long-term relationship with fashion designer , with whom he is reported as married by 2014. The couple has maintained a low public profile regarding family matters, with no documented information on children.

Residences and lifestyle

McEntee, originally from where he began his music career in the early 1970s with the band , spent much of his professional life based in following the formation of in 1980. In 2024, at age 72, he relocated to with his long-term partner, fashion designer Melanie Greensmith, purchasing a luxurious beachfront apartment in the coastal suburb of Cottesloe for $3.5 million. Prior to this move, the couple maintained residences in , including a two-bedroom apartment owned since at least 2020 and a Kings Cross property sold in 2023 for an undisclosed amount after renovations. The Cottesloe apartment, described as a mint-condition beachfront home, aligns with McEntee's lifestyle as a rock musician seeking relaxation and ocean proximity in semi-retirement, emphasizing a shift from urban environs to Western Australia's coastal serenity.

Philanthropy and causes

Supported initiatives

McEntee co-wrote the Divinyls' 1990 hit "" with Chrissie Amphlett, Tom Kelly, and , and following Amphlett's death from in 2013, the song was repurposed for efforts. In 2014, Amphlett's family, friends, and Cancer Council NSW launched the I Touch Myself Project, utilizing the track to encourage self-examination for early detection, fund treatment and research, and support patients facing financial barriers. As a co-writer and holder of associated rights, McEntee enabled the initiative's use of the song, contributing to its role in raising awareness and donations exceeding AUD 1 million by 2020 for breast cancer programs in . The project features covers by Australian artists and public service announcements, emphasizing preventive health measures tied to Amphlett's personal battle with the disease. No other major charitable initiatives or direct philanthropic actions by McEntee, such as performances for youth music programs or environmental causes, are publicly documented.

Legacy and influence

Musical contributions and style

McEntee's guitar style emphasized direct, visceral riffs that prioritized rhythmic drive over virtuosic solos, aligning with the unrefined energy of Sydney's pub rock circuit in the late and early . His playing featured punchy, aggressive progressions infused with punk-derived urgency, often employing overdriven tones to cut through dense mixes without elaborate effects. This approach is evident in tracks like "Boys in Town" (1981), where his "brass-knuckled" opening riff—built on power chords and descending lines—propels the song's momentum, blending raw aggression with melodic hooks that facilitated commercial appeal. As a primary songwriter, McEntee co-authored numerous compositions alongside vocalist , focusing on concise structures that integrated his -based foundations with lyrical themes of urban alienation and desire. Key examples include "Boys in Town," co-credited with Amphlett and Jeremy Paul, which reached number 8 on the Australian chart in May 1981, demonstrating empirical success through its hook-laden accessibility rooted in pub rock simplicity. His contributions extended to later works like "Human on the Inside" (1996), where patterns maintained the band's evolution toward 1990s without abandoning foundational grit. McEntee's role underscored Australian rock's emphasis on unpolished authenticity, drawing from pub venues where bands honed material through relentless gigging, transitioning into broader alternative influences by the via polished production on hits that retained core aggression. This stylistic consistency—favoring empirical efficacy over experimental flourishes—reflected causal priorities of audience engagement in live settings, as seen in ' origins gigging in King's Cross pubs.

Critical reception and debates

McEntee's guitar work with received acclaim for its raw, slashing style that complemented vocalist Amphlett's provocative delivery, contributing to the band's commercial breakthroughs such as the 1990 hit "," which he co-wrote and peaked at number four on the US Hot 100. Critics and peers have highlighted his ability to craft arrangements with precise tones suited to Amphlett's vocals, as noted in reviews of early albums like Desperate (1983), described as musically talented and dynamic, standing the test of time. Guitarist expressed "immense respect" for McEntee's era-defining contributions, emphasizing his understated yet effective playing. However, some assessments positioned McEntee below elite Australian guitarists like or Charlie Owen, labeling him "good" but not exceptional in technical innovation or influence. Early reviews critiqued ' sound under his leadership as merely "passable " and unkempt rock, lacking affectation but not groundbreaking. Debates intensified after Amphlett's 2013 death, centering on McEntee's 2018 announcement to reform with new vocalist Lauren Ruth Ward for a national , which drew widespread for commercializing the band's without its iconic frontwoman. Commentators argued it undermined preservation of Amphlett's singular presence, with one stating, "The without isn't the Divinyls," despite McEntee's core songwriting role. The , planned for February 2019, was cancelled amid backlash and logistical issues, fueling discussions on whether such revivals honor through or exploit formulaically. McEntee defended the effort as mirroring the band's gritty early pub rock , but fans and critics split on balancing against forward momentum.

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