They recruited Crispin Akerman as a second guitarist, Don Meharry as bass player and Guy Slingerland to play drums.

The following year, Lynch's then girlfriend, Grace Knight, became the lead vocalist, John Bennetts replaced Slingerland as drummer, and the band's name was changed to Eurogliders.

The band planned to record the album, and then relocate its home base from Perth to Sydney to begin an assault on the eastern states market.

According to Knight: "Given Bernie was the only person who knew what he wanted the record to sound like, the band would strain and argue about whether a chord was right or some such to make it sit with the other instruments.

"[9]Ultimately the band re-recorded some of the songs and remixed the whole album, which was named Pink Suit Blue Day.

In July of that year, the band travelled to the UK, replaced Saunders with Ron François, and recorded its second studio album, This Island.

[16][17] Once again, Villepastour starred in the audiovisual presentation of the single: this time, she 'played' tubular bells, and was also the keyboardist, in the Countdown video.

[18] The official video of the fourth and final single from This Island, "Maybe Only I Dream", followed suit, with another depiction of Villepastour playing both levels of a two manual synthesizer.

[10] A highlight of the band's touring program at that time was a lightning trip to New York at the end of 1984, to play in MTV's New Year's Eve special.

[12] In the official video of "Can't Wait to See You", Villepastour is seen playing an L-shaped array of two manual synthesizers, and also performing backing vocals.

[12] Subsequently, Villepastour played keyboards on QED's Animal Magic (1984),[22][25] Renée Geyer's Sing to Me (1985)[22][26] and Mondo Rock's self-titled album (1986).

She played keyboards, and co-wrote one of the songs, on the soundtrack album Les Patterson Saves the World (1987),[1][22] and composed music for several television shows.

[1] She also played keyboards and organ on Body and Soul (1987), the debut solo studio album by Jenny Morris (ex lead singer of QED),[1][22][28] and worked on its follow-up, Shiver (1989).

Under the inspiration of that trip, and a chance encounter soon afterwards with Robert Farris Thompson's book Face of the Gods (1993), she decided to study ethnomusicology at a postgraduate level.

[2] After completing her PhD and spending a short time as a Research Fellow at SOAS, Villepastour relocated to the USA.

There, she worked as an Ethnomusicology Instructor and as Director of Afro-Caribbean Ensemble at Bowling Green State University, Ohio, in 2007–2008, and as a Research Fellow at the Smithsonian Institution in Washington DC in 2008.

[2] Villepastour was then recruited as founding Curator for Africa and Latin America at the Musical Instrument Museum (MIM), in Phoenix, Arizona.

[34] Her field work, including as a Curator at the MIM, has taken her to about a dozen sub-Saharan African countries, especially Nigeria, and also to Cuba.

[2][4] In 2013 Villepastour presented a seminar entitled "Ethnography of a SideWoman" at both St John's College, Oxford University, and Bowling Green State University, giving an ethnomusicological insight into her previous life as "... a session musician who has worked alongside some of Britain's biggest stars.

[2] In 2016, she received commendation in the BFE Book Prize for her edited collection The Yorùbá God of Drumming: Transatlantic Perspectives on the Wood that Talks.