Rhythms Magazine NOVEMBER/DECEMBER 2019

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Volume No. 296 November/December 2019

UPFRONT 09 10

The Word

The latest issue. By Brian Wise

Rhythms Sampler – The Americana Issue

Americans and Chris Robinson’s Brotherhood.

Dave Matthews

With 40 million albums sold this rocker is also a campaigner for the environment and is heading back to Australia. By Steve Bell.

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Randy Newman

A legendary guitarist who still takes time to encourage young players is bringing his latest outfit to Australia. By Andra Jackson.

The master songwriter returns to Australia in January. By Brian Wise.

20 Pat Metheny

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27

30

Stuart Coupe talks to Donald Robertson about the foundations of Roadrunner magazine.

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ON TOUR & NEW RELEASES

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ROADRUNNER ONCE

ROADRUNNER TWICE 52

It’s 1978 and the fledgling magazine gets on its feet. An excerpt from

13 Steve Poltz Touring with a new album By Steve Bell 15 Nashville Skyline Anne McCue meets some rednecks.

Noble Thoughts 16

Bluesfest Festival Director Peter Noble shares some 2019 highlights.

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Your last chance to get the latest amazing sampler - only available to subscribers!

Vale Neal Casal 12

We salute the acclaimed guitarist with The Cardinals, Hard Working

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HISTORY

Billy Bragg

On his forthcoming One Step Forward Two Steps Back tour the Bard from Barking Bragg will perform three unique shows on consecutive nights. By Brian Wise.

Harvey Russell

Harvey Russell is part of a new breed of Australian performers. But is he Americana? By Stuart Coupe.

Khristian Mizzi

“All my songs in fact are supposed to leave people feeling a little better,” says this Moe-born songwriter. By Michael Smith.

The Earl of Grey

Andrew Patrick’s debut recording was inspired by his life journey.

By Michael Smith.

George Thorogood

With his Destroyers he’s been Bad To The Bone For 45 Years!

By Samuel J.Fell.

The Big Beat. By Donald Robertson.

LEVI’S BLUES – THE FIRST AUSTRALIAN BLUES/ ROCK FESTIVAL

It was described as the “biggest airlift of international talent since the days of Lee Gordon” and for the princely sum of $4.50 you got six hours of hot blues and R&B. By Ian McFarlane.

LIVE 64

Eric Clapton’s Crossroads Guitar Festival.

By Brian Wise.

COLUMNS

66 Musician: Carl Panuzzo. By Nick Charles 1/3 Revelations: Pat Metheny & Lyle Mays.

67 33

By Martin Jones 68 Lost In The Shuffle: Blue Jug. By Keith Glass Is Where The Action Is. 69 Underwater

By Christopher Hollow 70 You Won’t Hear This On Radio By Trevor Liquid Damage Around To Die: Unsung Heroes 71 Waitin’

By Chris Familton Classic Album: Sly & The Family Stone – Stand!

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By Billy Pinnell 74 BOB DYLAN’S TRAVELIN’ THRU 1967-1969: THE BOOTLEG SERIES VOL. 15 By Michael Goldberg

MORE REVIEWS 76

Feature Album – The Kinks: Arthur Or The Decline And Fall Of The British Empire Brian Wise talks to Dave Davies about the new Kinks box set.

Nano Stern 32 Colvin On the re-working of Steady On 78 Shawn

The charismatic South American returns to our shores as a high-flyer!

By Brian Wise

By Tony Hillier.

MAKING GRAVY AND HAY WITH PAUL KELLY 79 General Albums: Rhythms writers’ reviews 28

With a new collaborative studio album, a new version of Songs From 83 World Music & Folk By Tony Hillier The South, a collection of favourite poems and the making Gravy tour, he’s busier than ever! By Christopher Hollow.

84 Blues By Al Hensley Jimmi Carr 38 85 Jazz By Tony Hillier

The break-up of his band led to a new lease of life. By Michael Smith.

86 Vinyl By Steve Bell FEATURES 87 Film - Brian Wise checks out Echo In The Canyon and David Crosby: Remember My Name.

DYSON STRINGER & CLOHER 34

A new ‘power trio’ but not like we’ve ever known one before! Three

Technology Why buy a valve amplifier? By John Cornell 88 outstanding musicians team up. By Megan Crawford.

Books 89 ODE TO WILCO

Des Cowley reviews It Gets Me Home, This Curving Track by Ian Penman.

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Brian Wise talks to Jeff Tweedy about the new Wilco album Ode To Joy.

Books Too! Stuart Coupe discovers Doxology.

90 IMPOSSIBLE DREAM 44

Martin Jones talks to Wilco’s extraordinary guitarist Nels Cline.

91 Festival Calendar 92 Hello & Goodbye By Sue Barrett 46 STILL NILS. PART TWO.

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The second instalment of a chat with Nils Lofgren about his new studio album. By Brian Wise

Tanya Tucker

Legendary country singer makes what might just be the comeback of the year. By Megan Gnad.

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Senior Contributor: Martin Jones Senior Contributors: Michael Goldberg / Stuart Coupe Design & Layout: Sally Syle “Graphics By Sally” Website/Online Management: Robert Wise Proofreading: Gerald McNamara

CONTRIBUTORS Sue Barrett

Kerrie Hickin

Steve Bell

Tony Hillier

Nick Charles

Christopher Hollow

John Cornell

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Des Cowley

Andra Jackson

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Jeff Jenkins

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Megan Gnad

Anne McCue

Michael Goldberg (San Francisco)

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ever. When I spoke to Billy Bragg, I recalled that I was the first Australian to interview him (strangely he doesn’t remember!). In Nashville I spoke to Shawn Colvin and we both marvelled at the fact that her debut album is now thirty years old. (Where did that time go?)

Jeff Tweedy, a contemporary hero whose band Uncle Tupelo helped define alt.country and who is now continually breaking new ground with Wilco, was happy and expansive. Marty Jones, who has been championing Wilco for as long as I can remember, had a great chat to guitarist Nels Cline. So, it is fitting that we should devote substantial space to a band that also helped steer the direction of this magazine over the years.

Megan Gnad spoke to Tanya Tucker, who has made what is possibly the ‘comeback’ of the year with her album While I’m Livin’.

Andra Jackson interviewed guitar legend Pat Metheny and Sam Fell spoke to George Thorogood, who was championing John Lee Hooker’s music long before John struck back with The Healer. Michael Goldberg in San Francisco, the repository of all things Dylan, has delved into Bob’s latest box set and tells us that we need to hear the music within.

Contrast the ‘veterans’ with Christopher Hollows’ interview with Australian ‘legend’ Paul Kelly, who I guess also qualifies as a veteran now and seems busier than ever.

There a batch of new names to discover such as Jimmi Carr, Harvey Russell, The Earl of Grey and Khristian Mizzi. Finally, we are excited to tell you about Dyson, Stringer & Cloher, the awkwardly named trio that in the Rhythms world is a supergroup. Here are three

enormous talents that we are hoping enjoy huge success as a ‘power’ trio.

For our end of year issue, we have decided to bring back the Rhythms Readers Poll so that you can share your thoughts on what you think are the best albums, concerts and highlights of 2019. It is not a compulsory voting system (yet) but we do have some excellent prizes as incentives to entice you to vote. Please go to the Rhythms website (rhythms.com.au), click on the link and vote.

I think you will agree that this is a far more important vote than the federal election and makes the Brexit vote in the UK pale into insignificance! I look forward to presenting your verdict and those of our writers in the next issue. [One of my highlights of the year was seeing the Teskey Brothers at the Ryman Auditorium in Nashville. By the way, the audience loved them].

Sadly, we said farewell to Neal Casal in late August. I first met Neal many years ago when he toured with Ryan Adams as a member of The Cardinals. I thought the show he did with the Chris Robinson Brotherhood at the Corner Hotel a few years back was one of my favourite ever club gigs. Neal was an extraordinary guitarist and a lovely person who always made time to talk whenever contacted; he was also an exceptional photographer and could talk eloquently about this too. His death was a shock and he will be sadly missed.

Until next issue…..take care.

Brian Wise Editor

The Teskey Brothers at the Ryman Auditorium

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SEASON’S GREETINGS

As we approach the end of the year, I would like to wish you all the best for the festive season, however you might celebrate. I always enjoy this time of the year because I invariably get the gifts I want (mainly because I buy them myself). It has been another great year of music and you will see more evidence of that in this month’s edition, which is once again packed full of features and reviews.

One of the bonuses of being involved in the magazine and presenting a radio show is being able to talk to musicians who have either had a profound effect on your life or whose music you have followed since their debut recording. Often it is hard not to be a fan and come across as such…….and sometimes you just cannot help it.

Having the chance to talk to Dave Davies of The Kinks was somewhat surreal when I think of how much their music meant to me in the ‘60s and onwards. If ever there was a group that encapsulated what England was all about it was the Kinks. In fact, for a few years I would come home from work crossing Waterloo Bridge and it was impossible not to sing or hum ‘Waterloo Sunset’ each time. Wonderful memories. The re-release of the album Arthur & The Decline of The British Empire is timely given what is going on in Britain right now.

Then there was the chance to talk to Nils Lofgren for the first time and recall the incredible gig we saw him do at The Hammersmith Odeon in 1976 with Tom Petty & The Heartbreakers as support (as Nils said, probably the last time Petty supported anyone). There is master songwriter Randy Newman, as erudite and humorous as

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NOVEMBER / DECEMBER 2019 THE RHYTHMS SAMPLER

Summer Daze

Celebrate the new season.

Let the party begin with this 22-track sample of talent!

What a way to celebrate! Welcome to our fourth Rhythms Sampler. Twenty-two stacks of digitization (or polycarbonate if you burn it to CD).

Due to popular demand this will now be available exclusively to subscribers (print or print & digital) until December 31, 2019 (or until sold out). If you are not a member of the Rhythms family then go rhythms.com.au/subscribe and join us. Thank you to all the musicians who made their songs available. Thank you also to the record labels. Thank you also to the subscribers who have made this possible.

SIDE A 1. KHRISTIAN MIZZI Welcoming Song

Poetic lyrics, meandering melodies and ‘a voice like a big warm hug’, along with a unique picking style, Mizzi really is a complete artist and is becoming renowned for his intimate performances and thoughtful songs. throughout the country.

2. GEORGIA STATE LINE & PATRICK WILSON What I Know Now

IOHO one of the songs of the year! The collaboration marks a coming together of two of Australia’s most lauded young country talents in Georgia Delves (Georgia State Line) and Wilson. From a forthcoming album.

3. WAGONS Keep on Coming Back

From Songs From The Aftermath. Written

by Henry Wagons during a stay in Los Angeles in the foothills of Mt. Baldy where Leonard Cohen lived out much of the end of his life. Five years since their last release and still as good as ever.

4. TRACY MCNEIL &THE GOODLIFE Not Like A Brother

Picking up at full speed from where they left off with her last award-winning release (Thieves, 2016) this is the second single from the forthcoming album You Be The Lightning.

5. MICHAEL WAUGH This Song Reminds Me

The first single from Michael’s recently released Shane Nicholson-produced album. “It was like tuning in to a radio station,” he says of the writing. “And I was brought back to sleepovers at my best friends’ house.”

6. DYSON STRINGER & CLOHER Falling Clouds

The trio’s ode to Australian guitar bands of the 90s, namechecking The Clouds and Falling Joys Their self-titled debut album is out through Milk! Records.

With Dyson based in L.A and Stringer in Toronto, the band chose to meet halfway to make a record at Jeff Tweedy’s ‘The Loft’ in Chicago.

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7. ASH GRUNWALD (WITH JOE BONAMASSA and JOSH TESKEY) Waiting Around To Die

From Mojo, his first new music in 5 years which features appearances from The Teskey Brothers, Kasey Chambers, Mahalia Barnes, Joe Bonamassa, The Cat Empire’s Harry James Angus, Terry Evans, Eddy “The Chief ” Clearwater, Ian Collard, and The Fabulous Thunderbirds’ Kim Wilson. Plus an amazing array of session musicians.

8. PETA CASWELL & THE LOST CAUSE Better With You The latest signing to Sydney-based label, Stanley Records. Expect a full album early in 2020. Peta is the niece of legendary Australian songwriter and singer, Allan Caswell.

9. LOST RAGAS Keeping Up With Yesterday

SIDE B 1. LUCIE THORNE All The Love From Kitty & Frank, traces the wild true stories of young frontier woman Kitty Walsh and her lover, the charismatic bandit and bushranger Frank Gardiner.

In the 1860’s, Gold Fever came to Wheogo NSW and, like Deadwood, it didn’t end well.

2. CHARLES JENKINS When I Was On The Moon

From When I Was On The Moon. An acclaimed songwriter goes unplugged.

One man, one guitar, one microphone, one bedroom - is just delightful. Bernard Zuel says, “They’re just very, very good songs, done simply, done beautifully.”

3. FREYA JOSEPHINE HOLLICK Nobody’s Better Than No One

From This Is Not A Dream. The cosmic country sounds are firmly intact on this superb track with a rhythm section that punches hard and tight beneath the spiralling psychedelic guitars of Matt Walker and Shane Reilly. With Haydn Meggitt on drums and Roger Bergodaz on bass and twiddling knobs!

Courtesy of Blind Date Records.

The first single from Freya Josephine Hollick’s forthcoming album The Real World, to be released in 2020 and featuring Lucinda Williams band Buick 6 with renowned guitarist Greg Leisz and recorded at Rancho de La Luna in Joshua Tree. The new album is saturated in the sounds of desert rock and cosmic country.

10. MARTIN CILIA 1960

4. MAGPIE DIARIES Honey

From Shadowland - a tribute to the great Hank Marvin & The Shadows.Australia’s premier surf rock guitarist joined The Atlantics back in 1998 and the band have since gone on to record many of his tunes that have also appeared in surf movies. He has also recently played with Mental As Anything. The new album also has a fansatic version of ‘The Rise and Fall of Flingel Bunt.’

11. THE HEARTBROKERS I Am The Devil

From Vol.10. It’s already our local blues album of the year! When Jeff Lang and Van Walker met, they were more surprised to share a love of ACDC than Bob Dylan, and thought it fun to usurp expectations with an original album more of the former than the latter. With Ezra Lee, pumpin’ bass and melody of Brother Cal and killer kit work of Ash Davies.

From Sanctuary, the first official release for Dashville as a music label. Smooth soulful folk country, with subtle flourishes of psychedelic rock ‘n’ roll.

The song also has a charming video, shot on location at Magpie’s home of Dashville at Lower Belford. The video paints a seemingly biographical picture of how the song emerged, growing up in the heavily industrialised area of the Upper Hunter and striving towards an idealism to believe in.

5. OPELOUSAS Meet Me In The Hallway

From Opelousified. Inspired by the Louisiana town of the same name, Australian trio Opelousas (Opper-loosas) serve up a spicy slice of Swamp blues. Head out on the highway of your mind with one of our favourite power trios (the other being Dyson Stronger & Cloher). Kerri Simpson, Alison Ferrier and Anthony ‘Shorty’ Shortte offer some more bareboned blues for free-wheeling minds.’

6. ROB SNARSKI Number 44

From Sparrow and Swan, recorded and mixed by Shane O’Mara at Yikesville Studio, Yarraville. Conversations turn into song, late night tales become the tunes there are stories here from Brisbane cab drivers, girls from Belfast ‘74 in search of Van Morrison, football players and their protégés - as on this gorgeous song, a tribute to one of Snarski’s important influences. Magnificent.

7. THE EARL OF GREY Hollow

The Earl Of Grey has spent time in just about every corner of the wide, brown land that is Australia, and the sense of freedom, adventure and inevitable heart ache is on display from the first note you hear pass his lips. Residing now in Central Queensland, The Earl Of Grey can be found at big events like the Tamworth Country Music Festival and in pubs, clubs and cafes up and down the east coast of Australia.

YOUR LAST CHANCE TO GRAB THE 4TH RHYTHMS SAMPLER! BECOME A NEW SUBSCRIBER AND RECEIVE THIS GREAT DOWNLOAD CARD. GET SOME OF THE BEST MUSIC YOUR WILL HEAR THIS YEAR FROM: Wagons, Ash Grunwald, Georgia State Line, Lost Ragas, Khristian Mizzi, Tracy McNeil & The Goodlife, Michael Waugh, Dyson Stringer & Cloher, Peta Caswell & The Lost Cause, The Heartbrokers, Lucie Thorne, Charles Jenkins, Freya Josephine Hollick, Opelousas, Magpie Diaries, Rob Snarski, The Early of Grey, Martin Cilia, Jeb Cardwell, Sean McMahon & The Owls, Buick 6.

SUBSCRIBE TO RHYTHMS PRINT (OR PRINT & DIGITAL) TODAY AND WE’LL SEND YOU OUR EXCLUSIVE SAMPLER FULL OF GREAT MUSIC....

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8. JEB CARDWELL Opportunity

The new single from a forthcoming album. Courtesy of Blind Date Records.

A two-time winner of the SAMIA (South Australian Music Industry) award for ‘Most Outstanding Guitarist’, Jeb is also an accomplished songwriter collaborating with his sister Abbie Cardwell.

9. SEAN MCMAHON & THE OWLS One Foot Out The Door

From You Will Know When You Are There. Courtesy of Blind Date Records. Uncluttered and focused in its arrangement, this is a confident record that ebbs and flows lightly, yet displays immense character and weight with each pressing moment.

10. GLENN CARDIER Restless One From Wild At Heart. Veteran songwriter’s re-emergence has been nothing short of extraordinary. He writes, performs and produces his music from his adobe home studio on the Hawksury River, north of Sydney.

11. BUICK 6 Senorita Blvd

Courtesy of Blind Date Records. Our favourite American instrumental band at the moment. Featuring the incredibly powerful drumming of Butch Norton; the searing guitar of Stuart Mathis and David Sutton on bass. Backing band to Lucinda Williams and now also to Freya Josephine Hollick.

rhythms.com.au 11 11

ROAD WARRIOR

Canadian Steve Poltz is back form another visit to Australia armed with his new album Shine On

By Steve Bell “This year’s been crazy, and they keep getting busier. If you don’t stop more stuff keeps happening and the momentum takes over, you have to just keep going. So I just keep playing more and more shows – it’s never ending but it’s fun – so I’ve been in a lot of different places, it just keeps going on and on.”

VALE NEAL CASAL

Nashville-via San Diego-via Canada indie-folk troubadour Steve Poltz is nothing if not a road warrior. His work ethic is consistently pushed into the red, taking his cache of humorous singalong songs wherever there’s a stage of some description and a group of people to make think and laugh (not always in that order).

(1968 – 2019)

His impending Australian tour finds him dragging his acoustic guitar and inimitable worldview around our wide brown land for a full three weeks, a rather short stint Down Under by his lofty standards.

Acclaimed guitarist/songwriter/ photographer Neal Casal, former member of Ryan Adams’ band The Cardinals” and recent member of The Chris Robinson Brotherhood, died on Monday August 25 age 50. No cause of death was confirmed at the time, but it has since been revealed that he committed suicide. He had been recording an album with Circles Around the Sun the week before his suicide and had played a gig just a few days before his death.

“It’s with great sadness that we tell you our brother Neal Casal has passed away,” said his friend and publicist Kevin Calabro.

“As many of you know, Neal was a gentle, introspective, deeply soulful human being who lived his life through artistry and kindness. His family, friends and fans will always remember him for the light that he brought to the world. Rest easy Neal, we love you.”

“My heart is broken. It’s too much,” posted Ryan Adams on his Twitter account. “What an honor to have known you, true believer. I love you, always. Go easy, brother. Go easy.

Through thick and thin your heart was a lighthouse of kindness. Your eyes a mirror to a better world- your soul bled into ever note. I don’t know how to even feel right now. Grateful for your time. But immense loss. “I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain.”

Not only was Casal co-founder of the Chris Robinson Brotherhood and Circles Around the Sun but he was also a former member of Ryan Adams’ band The Cardinals, Blackfoot

“Usually my Australian tours are longer,” Poltz chuckles. “I’m usually there six weeks but this time I’m doing a shorter tour. It’ll be my 20th time coming over there, and I usually end up spending six weeks, and that’s like a long time to the point that you come home and start wondering where you’re even from.

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“You start to kinda lose track, and I’m used to staying in a different bed every night, but it’ll be fun to come back to Australia – I like touring over there, and I like driving on the left-hand side of the road and the audiences are great.

“I’ve been doing this for 30 years on the road, and in those 30 years if you’re going non-stop you’re probably going to hit places 20 times.

Unless you don’t tour a lot – some people will just go out a few weeks a year – but I’m more of a live thing and I love turning up and playing live shows. I wouldn’t do it if I didn’t like it. I really love it.” and The Hardworking Americans with Todd Snider. Earlier this year, Casal was forced to cancel some tour dates with Chris Robinson due to health issues.

“I love it,” Casal told Rhythms in January 2018. “Playing live is great. With our CRB band we have a good group. We have good camaraderie. We have been together a long time. We love what we do.”

Casal last played on Saturday August 23 with Oteil & Friends — the Dead & Company bassist Oteil Burbridge’s group, which also had Bob Weir sitting in — at the Lock’n Festival in Arrington, Virginia. He was due to start producing a new record for singer/ songwriter Kenny Roby of 6 String Drag and had also been working on the new album from Circles Around The Sun. Casal also performed with Phil Lesh & Friends, Willie Nelson, Shannon McNally, Tift Merritt, Lucinda Williams, Mark Olson, the Skiffle Players, Fruit Bats and Vetiver.

His last solo album, 2011’s Sweeten the Distance, was produced by Thom Monahan.

Casal was born in Denville, New Jersey, on Nov. 2, 1968 and began releasing solo albums in 1995 with Fade Away Diamond Time, the first of a dozen solo albums released up to 2011’s Sweeten the Distance.

He formed the trio Hazy Malaze in 2002, releasing three albums with bassist Jeff Hill and drummer Dan Fadel before joining Ryan Adams’ band, The Cardinals, in 2005, touring with the group and appearing on five albums, including 2007’s Easy Tiger and 2011’s Class Mythology.

Beginning in 2012, he toured and recorded with former Black Crowes singer Chris Robinson’s band, The Brotherhood, appearing on a dozen albums, including 2012’s Big Moon Ritual and this year’s Servants of the Sun. Casal toured Australia with CRB in 2015.

Casal was also an accomplished photographer. In 2010, he released a book of his work, Ryan Adams & the Cardinals: A View of Other Windows.

ON TOUR

While Poltz admits that his touring regimen occasionally lacks strategy (“it’s like herding cats sometimes”), he’s in it for the longhaul riding atop a vociferous belief in his own talent.

“I just keep going and I’m tireless so I’m able to do it – I can outlast anybody,” he smiles. “In a way I’m like a superhero and nobody can touch me when it comes to sheer tenacity and not stopping.

“I remember one time I played an eight hour show, I just said, ‘I’m not going to stop playing until everyone is asleep or they’ve left’. We had three people left and finally the last person fell asleep in the club and the club owner was laughing so hard – of course he was on coke, that’s how he stayed up – and I ended with the last three people in the room singing ‘We Are The Champions’.

“So I know there’s a sense of insanity that comes hand in hand with my method, and you sort of have to be insane – I still believe that my time is coming and that I’m going to break huge. Which is a form of insanity in itself, almost like you’re an egomaniac with an insecurity problem, which don’t go well together. You really have to have delusions of grandeur to keep going at this pace. But I don’t know what else I’d do – it’s my whole reason for living.”

Poltz explains that the overt humour that colours both his stage show and his songs is just his default creative style.

“I want it to be conversational but I like the sound of certain words, and it doesn’t always have to make sense,” he reflects of his writing.

“I like things that are visual, and I guess I’ve always just loved words ever since I was a little kid and writing creative stories – my mum was an English teacher – so that was my favourite thing. I hated math but I loved words.

“Then when I first started writing songs I thought they had to be like Jackson Browne or James Taylor and I wasn’t able to do that – I’m not able to do what they do – but then I realised that I have my own weird sense of humour and only I can be me: I realised that I have my own musical fingerprints.

“And maybe because of that I’ll never have as broad of an audience, but I’ll always keep trying. I’m still searching to make the perfect record, and I still always feel like the next record I make is going to be huge. Otherwise why do it?”

Steve Poltz will be touring Australia in November and December.

The album Shine On is available ow via Red House Records.

13

ANNE MCCUE

NASHVILLE SKYLINE Anne McCue reports in from the home of country music REDNECKS In those days, there was a house up on the corner where Shadow Lane met Happy Hollow. They had a Confederate flag flying from a pole in the front yard and there were all sorts of cars splayed about the property in various states of disrepair.

And if the people who lived there were ever in the yard when we walked past they would stare impassively. Even if we called ‘hello’ they would acknowledge the greeting with a sneer and that’s all. So, we stopped even looking at them and hoped they would be inside when we went by.

Their trashcans were always out the front - overflowing, of course. And other rubbish and old furniture would just be left nearby. I felt sorry for the children who sometimes played in the yard, growing up in a place like that with parents who were most likely hooked on crystal meth.

Two pit bulls jumped up at the front window every time we passed, bashing into the glass as if they would like to kill us and our dogs if only given the chance.

Shady drug deals took place in the cluttered driveway. How many cars? At least ten some days.

But with all the mess and the litter, the greatest affront to our minds was the Confederate flag. After all, hadn’t enough people said time and time again that what it signified was offensive?

Well, one day, when I was in my front yard contemplating the weeds, Mrs. McDougall came along with her little blonde dog, 14

NEW ALBUM OUT NOW

whom we had dubbed Mister McDougall.

They lived across the road from us in a neat and well kempt house, both Southern born and bred, as they say.

She called out to me, so I went down to the bottom of the driveway to chat.

‘How is everything with you and how is Mr. McDougall today?’ I asked.

‘Well his hips are sore but he loves to get out, even just for a short walk,’ she replied.

Mr. McDougall looked exactly like a teddy bear but in the shape of a dog. We both looked down at the little fellow who stared up at me with the wisdom of a centenarian - an age he was fast approaching in dog years. He wore a Scottish tartan collar and in winter would often don a matching tartan coat - a smart dresser indeed.

Mr. McDougall had a look of peaceful understanding in his button brown eyes.

I checked the overflowing mail box as we talked. Just junk - advertisements and credit card offers - massive debt having become the American Dream.

‘You know, I said, they’re tearing down that house up there on the corner and they’re going to build two houses on the lot.’

‘I didn’t know,’ gasped Mrs. McDougall, quite horrified. ‘Which house?’

‘That one with those plantation style columns, across the road from that redneck house.’

Mrs. McDougall made a low and compressed laughing sound, the kind

of laugh that is under your breath but sure says a lot. And the words ‘red neck’ flashed through my brain in neon lights.

‘You know, that white trash house with the Confederate flag,’ I said, trying to recover from something I was just starting to realize was a faux pas but only as the words ‘white trash’ flashed fluorescent in my mind.

And at the end of her laugh, Mrs. McDougall glanced ever so briefly up at the house behind me. My house. And so, I too, turned and looked at the house and saw it, as if for the first time.

I saw the the unmown lawn. I saw the paint peeling off from the front door casing. The cracked and rotting wood of the fascia. And the way some trim was painted one color while other trim was painted another. And in the window broken blinds, poking hither and thither.

And what about those two ‘East Nashville Terriers’ barking and jumping manically up against the front window?

And I saw for the first time, my own ‘redneck’ house, looking, for all intents and purposes, rather ‘white trash.’ What, with the three cars parked on the lawn, including the old pick-up truck with the rusty windscreen wipers.

For the first time I wondered about the word ‘redneck’ and if it was a little harsh, if not even offensive to some.

And the term ‘white trash’ suddenly seemed awful mean.

But that flag, though. Goddamn.

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DIRECTOR’S CUT We asked Bluesfest Director Peter Noble to share some of his highlights of 2019.

her latest album won three Grammys, her next will be the one that will make her a household name ..if you get an opportunity to be in her presence ...grab it.

ALLEN STONE..METRO THEATRE, SYDNEY APRIL 2019 When the vast majority of the audience, KNOWS what the song will be as soon as the first chord is played, and then sings along, knowing the words, you know you are witnessing something very special. ...another artist who has worked hard and long to get to where he is...who is moving life, as well as moving up.

LUKAS NELSON AND PROMISE OF THE REAL Various performances Bluesfest April 2019.

If you have been to a POTR concert .... you know ...this band is ready for the world.

Special mention to Yola: various performances across AmericanaFest.

Nashville. September, 2019. Something is really happening here ....she was the talk of the town RELEASES BRANDI CARLILE

BY THE WAY, I FORGIVE YOU.

Hi, and Merry Christmas,

Being in the biz...I get to see quite a few artists perform from headliners through to newbies... and THEN there’s Bluesfest.

My show of the year ..without a shadow of doubt is ..

BRANDI CARLILE....MADISON SQUARE GARDEN, SEPTEMBER 14, 2019.

I cannot stop raving about Brandi and this performance ..... it was show stoppingly Brilliant! There’s a level of great that is just there and this is an artist who has attained the level, and wears the mantle. Brandi Carlile is a superstar awaiting confirmation in my opinion, she has worked hard over a very long time to get there...and although

The Americana Awards artist of the year 2019, was nominated for six Grammys and won three for this album, including Best Americana, and was nominated for album of the Year. It contains the song ‘The Joke’ (nominated for song of the year 2019 Grammy Awards, winner Grammy Award 2019. Best Roots Song), ‘The Mother’ and ‘Party of One.’ To say Brandi has arrived with this recording, is a serious understatement ....she is verging on greatness here.

RAPHAEL SAADIQ JIMMY LEE

Conscious, modern R&B/ Soul music by a criminally under acknowledged artist ...a real gem ROSALIA EL MAL QUERER

Nominated for the Rock ‘n’ Roll Hall of Fame and with 40 million album sales under their belt the Dave Matthews Band head back to Australia for their third visit.

By Steve Bell

A true discovery of this Spanish, Flamenco influenced, artist, who is a buzz word right now....you can’t sit down when this ones playing.

I’m a bit of a retro fan, and don’t drive cars that don’t have a CD player, so here are my other favourites from back then DELBERT MCCLINTON & SELF MADE MEN TALL, DARK & HANDSOME

My favourite blues album this year. How does he just keep dropping great records without a hiccup after all these years? I defy you to name a bad one. Can’t be done.

WILSON PICKETT’S GREATEST HITS All 24 tracks are killer no filler. By one of the greats.

Curtis Mayfield - New World Order

To think that Curtis recorded this album, his last, six years after the terrible accident that made him be paralysed from the neck down, and for it to be so positive..... continues to be another shining example of his inspiring body of work. Curtis was possibly THE main influence on Bob Marley.... they were both true prophets.

Peter Noble, OAM, Festival Director, Bluesfest.

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Matthews’ Southern Comfort

Legendary Virginia-bred rockers the Dave Matthews Band will have a different look when they return next year as one of the flagship acts at the 2020 Byron Bay Bluesfest.

Their third time on the pointy end of the bill at the annual Easter festival – following appearances in 2005 and 2014 – will be their first without long-standing violinist Boyd Tinsley, who recently left the ranks after 27 years of bringing his vibe to the band’s unique aesthetic.

But the jam band’s titular frontman Dave Matthews is quick to embrace the change as an opportunity to refine the band’s sound rather than any disruption to his band’s storied career.

“I couldn’t be happier with where the band is at right now, there’s a genuine chemistry and I really like the dynamic – I don’t think

we’ve ever sounded better,” he offers. “The original sound was more like an accident anyway.

“Right back at the start when the band was forming we didn’t pick the line-up through the instrumentation we thought we needed, we picked because of the people, so even though Boyd’s violin had become such a big part of the band’s sound we didn’t feel the need – or feel that it’s right – to get in a likefor-like replacement.

“What we’ve got instead is Buddy Strong, he’s an incredible keyboard player who’s toured with everyone from Usher to Ariana Grande, so not only does he bring great musicianship to the table but he’s a wonderful singer as well and brings an additional strong voice to the equation.

“Obviously, we really miss Boyd, but he’s taken a course of action that made change inevitable, and as it stands now, we have a group of people who really want to be there together onstage in the moment. This band will bring it whether we’re playing to ten people or 500 people, simply because they love making music together and that’s infectious.”

With Dave Matthews Band having sold nearly 40 million albums worldwide over the journey it’s clear that their fanbase is massive, but Matthews believes that their rabid devotion lies in the fact that every show – down to the way they approach individual songs – is different every time.

“Some bands practice their dance moves and what they’re going to say between songs and keep the same setlists so that everything is a routine and perfectly choreographed,” he smiles, “but that’s kinda the antithesis of what we do.

“Our show is different every time and sometimes we’re not even sure where it’s going to take us with the improvisations

and everything, and I think that complete spontaneity and being in the moment and the fact that they’re experiencing a genuinely unique show is really alluring to our fans.

“We have such big crowds in the States everywhere we play but whenever we travel to say Australia we may be playing to smaller crowds but they’re no less devoted and what we’re trying to achieve is that connection: as long as we’re all on the same page it doesn’t matter how many people are there, the result is just as transcendent.”

Just days before Matthews speaks to Rhythms Dave Matthews Band were nominated for induction into the prestigious Rock & Roll Hall of Fame, in just their second year of eligibility.

While he could easily see this potential honour as validation for an incredible career that’s not always been properly acknowledged despite numerous records and achievements – DMB being the only band to have seven consecutive #1 debuts on the US album chart, for instance – Matthews instead views the nomination through the lens of a massive music fan.

“It’s not really something that’s ever been on my radar,” he admits. “Having said that as a music lover it’s an incredible thrill seeing my name there alongside artists such as Motörhead and T-Rex, I’ve been a massive music fan all my life so seeing my band’s name in there amongst all those people is really amazing. There was a long period of time there when Motörhead was basically the soundtrack to my life, and I’ve always looked up to Lemmy.

“In this time of unstable global politics, social division and unrest and climate conflict awards like this can feel a little quaint, but it’s still great to get the recognition for a career of hard work and seeing your name included amongst such great people.

“So yeah, it’s not something that you ever think about beforehand, but once it happens it’s really humbling. I still hope Motörhead get in though, that’s who I’d vote for.”

The Dave Matthews Bands’ latest album Come Tomorrow is out now.

They will be playing at Bluesfest on April 13 and also: First State Super Theatre, Sydney, April 15 / Margaret Court Arena, Melbourne, April 17 17

R

RANDY NEWMAN RETURNS

Back for a solo piano tour, the master songwriter brings a catalogue of great songs, both funny and sad.

By Brian Wise

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enowned as one of the great contemporary songwriters and becoming renowned for his writing even before he released his first album in 1968, Randy Newman has also forged a formidable career as a composer of film soundtracks. He returns to Australia in late January for a series of solo piano concerts.

We’re looking forward to seeing you out in Australia early next year, and so it’s great to hear that you’re coming back.

Yeah, I’m looking forward to being there. I loved it. We went there for vacation too.

What can we expect in concert from you this time around?

You know, it’s just me on piano, but it’s a little bit of everything. You know, they’re short songs, so I’ve got to play a lot of them.

I noticed that the Hollywood Bowl Concert, was it last year? I think you did 28 songs.

Did I really? Wow. This is the first time I heard that. But yeah, that’s what I do. That guy was going fast too. I was nervous.

I guess there’s a lot to cover, but you’ve got two careers, really, haven’t you?

You’ve got your career making studio albums, but you’ve also got the one involving movie soundtracks, which has been absolutely enormous for you.

Yeah, it has. I’m fortunate. I’ve done some good pictures and pre-eminent among them, the Pixar Toy Story and Monsters. I did all of those. Yeah, it’s been very nice in a way.

I suppose the movie soundtrack business runs in the family. Where did you get your first start in it and what prompted you?

Well, it was probably my uncle, who is a film composer. My father, who was a doctor, thought they were just the greatest, you know, thought that film music was the art form of the 20th century. I think I got pushed a little bit to be a musician and then that’s what I thought I’d be when I was 12 years old. I mean, that’s what I did for a while.

It must be very nice to have that to - I won’t say to rely on - but it’s certainly given you some steady employment over the years, hasn’t it?

Yeah, it’s steady employment, and you know, my songs are often that kind of strange considering the rest of the repertory. I write more funny songs that attempt to be funny anyway, and most people do when they write songs in character, which is a little odd for the medium.

But the movie stuff gets me as close to the middle of the road as I ever get, and I’m grateful for it that I can write a song like ‘You’ve Got a Friend In Me’ without sounding like I’m being sarcastic.

A lot of your younger fans might not even know that you have another career.

Is that the response you get? You meet

a lot of fans. I know you’ve done some signings recently at Disney World. Do you get a lot of fans who actually don’t know that you’ve got this other career?

Well, I think some, but I think it’s a matter of parents bringing the little kids who certainly don’t know. They know me from the Toy Story films, but it’s fine with me. I guess they just go to sleep after I’m done playing ‘You’ve Got a Friend.’

Since 1968 you’ve released eleven studio albums but you’ve done a lot of soundtracks. Is it harder to write music for studio albums than it is to do the soundtrack work? I guess when you’re given a story there that makes it a bit easier.

You’re absolutely right. It’s a great question.

You know, the one thing about a movie is you have to get it done. I mean, I can’t be late. I can’t hold up a release date. With an album, I can waste time, or push it back, or change things and stuff. But I think if I had to say, I would think that getting it all together for an album, getting twelve ideas for songs and arranging them, and singing them and all is more difficult. But show music to do it really well – and I hope I aspire to that anyway - is really difficult. It’s really a close call which is harder.

I suppose the other thing is, when you’re writing songs for your own albums, you’re writing personal songs and it might be more difficult to do that than when you’ve already got the storyline and everything in front of you.

It’s having to pull an idea out of the air.

You’ve got nothing, no idea of any kind.

Of course, with the movie you can see the scene and, basically, you know approximately what to do with the song or it’s possible they have nothing for days at a time.

Over the years you’ve written some very funny satirical political songs but is that more difficult now that the incumbent in the White House is almost a cartoon character in himself? With all due respect.

You think it would be. It’s not more difficult, but yes, when it’s that easy and big a target, it almost is more difficult. I think you could do it. I’ve seen people be funny about Trump. It’s possible. I mean, he’s so funny all by himself and kind of depraved and unusual for an American President, to say the least. But you could do it. I mean, actually, I could write a song about him. I don’t feel like doing it much possible.

A song like ‘Big Hat, No Cattle’ from a few years ago, that might work.

Yeah. Well, that’s it. When, when he was running for President, he just started, someone wrote in a newspaper article that he sounded like a character in a Randy Newman song. It’s very true. Like my life is good or those big, the bragging kind of songs I’ve done.

So, I suppose it’s easier to write about Vladimir Putin or someone like that who takes himself seriously perhaps.

That I could. I wrote a song about Putin. It’s possible about Trump. I had an idea actually, but it would have been a serious song. Like his daughter, Ivanka, to have her say, ‘Dear daddy, you know, I love you so much. You’re so great.’ You know all that puffery that you had to do with him. And then she’d say, ‘But I wonder, do you really know what real is or what a lie. That would work.

Well, we look forward to that. Maybe you can work that up before you arrive here.

Yeah, alright.

It occurred to me that he last album, Dark Matter, with the song ‘Putin’ on it, could have almost been like an opera. It could have been turned into a stage show almost. The songs were so dramatic.

That’s true. You know, someone said that a couple of the things were like scenes rather than songs, and maybe that’s true. I don’t know whether I’ll ever do that again, but they were a bit of an expansion of the form, at least for me. It was a different kind of writing.

You’ve got ‘The Great Debate’,’ Brothers’, ‘Putin’, ‘It’s a Jungle Out There’. There was a kind of a theme there, wasn’t there?

It is sort of a theme in there. It’s like ‘Trouble In Paradise’. I couldn’t tell you what the theme is, but it is similar in a way.

I recall seeing you at JazzFest and you did the song ‘Rednecks’ and a lot of people in the audience didn’t seem to understand that it wasn’t actually a song supporting rednecks. Of course, you lived in New Orleans. Do you get a response from the audience sometimes that’s opposite to the one you think you’re going to get or the one you intend?

Sometimes, not often, but the redneck stuff doesn’t surprise me. That song is really, I won’t say pro the Southern view, but it says that the North doesn’t have any right to have any moral superiority to the South. And that’s what it says. But yes, I’m sometimes surprised. There’s songs where I thought I must’ve done it wrong. They’ll take it a different way than I meant it.

You lived in New Orleans as a child for a while, and it’s the place where it has one of my favourite characters in John Kennedy Toole’s A Confederacy of Dunces.

Oh yeah. It’s a great one, isn’t it?

Some of your characters actually remind me of him. What kind of effect did living there have on you, or were you too young at the time?

I think I was too young but I’d go back in the summers until I was about 11. But I don’t remember hearing music or anything but it is everywhere. And I’ll tell you, I’d like a record as a kid when I was 16, 17, and a lot of times it was made in New Orleans. I mean, I loved Fats Domino before I knew it was clear where he was from. The way he talks, I would have known that. But I just loved him, and I love those kinds of shuffles.

I do it too often.

Randy Newman will be touring Australia from January 30 to February 7, 2020.

19

The Axeman Cometh

The legendary guitarist who still takes time to encourage young players is bringing his latest outfit to Australia.

By Andra Jackson

F

or most young, aspiring musicians getting to meet let alone play with their musical idol, remains outside their reach.

But not if you play guitar, show talent, and the source of your inspiration is the great American jazz guitarist Pat Metheny.

“I hear regularly from new players on the scene who have professed an influence from my records and tunes and I often invite them up to my house to play,” he says.

“Very often it is very natural and organic to the music to play with them, they have literally grown up with it.”

Grammy-winning Metheny has played with some of the biggest names in music including the jazz masters saxophonist Ornette Coleman, pianist Herbie Hancock and bassist Charlie Haden as well as rock singer David Bowie. But he says when he plays with as yet mostly unknown young musicians, “I find myself inspired by how they deal with the musical challenges that come with the territory of some of those older tunes.” At the same time, he says he finds himself intrigued by what might be possible in writing new music for them.

20

It is not surprising then that in casting around for musicians to form a band for his world tour next year, he sought out young talented musicians making an impression on the New York jazz scene.

They are also musicians who were inspired originally by Metheny’s music. Along with long-time collaborator, drummer Antonio Sanchez, he chose pianist Gwilym Simock and Australian/Malaysian bassist Linda May Han Oh.

“There was a very active music scene in KC at that time and I was incredibly lucky to get that chance to really learn by doing.

It wasn’t an academic thing for me, I was getting experience as a player by having to hang with people who were much older and more experienced. I often say that the most important thing is to be around musicians who are better than you and I really believe that and benefited from that a lot.” He considers he was very fortunate that by the age of 17 or 18, he had already been playing professionally on hundreds of gigs around the Midwest. “I would say that real world experience was huge for me.”

Responding from Cincinnati Ohio to questions from Rhythms, Metheny explains that experience was so invaluable to him that it inspired him to set up his Side-Eye project in the States.

“From Kansas City onwards, I was the beneficiary of so many older musicians giving me a platform to develop my thing through the prism of their experience and the particular demands of what their music implied.”

The guitarist’s music roots go back to Kansas City where he grew up. Recalling his early foray into music, he says he was fourteen when he started playing gigs around Kansas City, then a music mecca.

Often, he found himself playing with some of the best musicians in town.

twenty Grammys and being inducted into the Downbeat jazz magazine’s Hall of Fame and the Swedish Royal Academy of Music. He regularly wins the Downbeat Readers poll for the best jazz Guitarist. But ask him what means the most to him of all the tributes he has received and he is nonchalant.

“I don’t really think too much about the things that surround the music – my focus is almost entirely on ‘it’ rather than being surrounded by ‘it’, he says. “I wish it were possible for me to garner more gratification from the awards and stuff like that than I am able to.” While he does appreciate the honour, “the only real satisfaction I get is from the feeling of playing well or achieving a specific goal within the music itself.”

In selecting his touring band, he chose pianist Simcock because “he has a deep understanding of the sensibility of what my thing evokes and requires. Britisher Simcock previously performed in Australia with Lighthouse Trio at the 2012 Wangaratta Festival of Jazz and Blues to rave reviews.

With Antonio signed up, Metheny then went out to listen to New York’s bass players and discovered Linda Oh. “Linda Oh really rose to the top as the best choice,” he says. “She is something special.

She has all the requisite skills; great time; deep harmonic knowledge and a great sound on her instrument and technique to spare; but there is something else going on with her. She has a kind of presence as a musician that invites her listeners to follow the details of her story as she spins it. There is a narrative depth to her soloing and to her lines as she accompanies musicians around her that is particular.”

h t e om

In return he wants to see young upcoming musicians have a similar opportunity. “I wanted to have a platform to focus on the many younger musicians I have enjoyed recently who I have felt some kind of kinship with.”

Accordingly, he established Side-Eye, a series of concerts in which he plays with a rotating cast of young musicians such as Marcus Gilmore and James Francies. They represent “a kind of blend to me of players who have a deep sense of the music and are fluent inside it while also looking for new ways of thinking.”

One of the first big breaks that came his way was playing with jazz vibraphonist Gary Burton. Metheny compares the opportunity to play with jazz virtuoso Burton to a chance to play with the Beatles.

“That was my favorite band and if I had never done anything but that for the rest of my life, I would have been happy.”

On a practical level, he could not have been around more inspiring mentors, he says.

C n a m e x A e h T Over a fifty-year career, the guitarist who revolutionized guitar playing, has only toured Australia twice before, in 1985 and 2014. He is to play theatre shows billed as An Evening with Pat Metheny in Melbourne, Sydney and Perth next March. Ticket sales have already opened.

“From Gary, not only was there a huge musical inspiration but a very strong set of requirements to hang with what he was looking for from the band and how it fitted into the culture at large. He was a tough leader in a good way. “Steve Swallow the bass player (in Burton’s band) was also a giant inspiration and influence,” he says.

Metheny burst onto the record buying music scene in the 1970’s. His debut album, Bright Size Life on ECM in 1976, featured the astounding bassist Jaco Pastorius and drummer Bob Moses. This was followed by a number of albums with the second album by the Pat Metheny Group, American Garage reaching number one on the Billboard jazz charts and making an impression on the pop charts.

With different combinations of musicians, his music has since variously traversed contemporary jazz, Latin, fusion, and the use of synthesizers.

The guitar sound that emerged on these recordings and live performances was deemed revolutionary by critics. Metheny says what has been described as his reinvention of the guitar sound evolved through “a bunch of things that were a big part of my early research into phrasing, sound, time feel and general harmonic sense that have flowed into the language.”

Asked if his approach is continually evolving, Metheny points out he had only been playing five or six years when he recorded Bright Size Life and has clocked up almost fifty years playing since then. “So, I have much more experience at trying to understand music.”

“The basic things that I laid out in Bright Size Life in terms of sound and conception has really been the fundamental platform that everything that followed has been built upon whether it be with trios or my regular groups. Those early musical arguments still seem worthwhile and viable to me now and I think that the conception of things being built on a stripped down model has benefitted the more sparse settings as well as the more elaborate kind of things that I have done with my larger bands and projects.” And writing for or playing with a Charlie Haden presents different playing opportunities than with a (bassist) Dave Holland, he adds.

Above all, Metheny sees himself as a musician in the broad sense and stresses he is not a huge fan of references to genres or styles of music.

“To me, music is one big universal way of living and being.” The musicians he admires most are ones who not only have a deep reservoir of knowledge and insight about music but also about life in general “and can illuminate things they love through sound,” he says.

Metheny is one of the most awarded contemporary music artists notching up

Metheny says of music played in the coming shows: “It could really be anything and everything. I have already written a bunch of new music which we recorded and will be released in early 2020, inspired by just the thought of this presentation.”

But he concedes he could imagine devoting a night to just his old tunes. “I like the idea of keeping it open and letting it become whatever it winds up being over the course of the tour.”

At this stage, he says, he has so much music and it is “one big thing.” It is music without borders and without distinctions between periods. As well as covering a wide range of material from his prolific career, he suggests that with Sanchez, Simcock and Oh on board, they may “uncover what the next period has in store as well.”

The Pat Metheny Band plays the Riverside Theatre, Perth, Wednesday March 4, 2020, the Palais Theatre, Melbourne, Friday March 6, and the State Theatre, Sydney, Saturday, March 7.

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BRAGGING Billy Bragg is bringing his One Step Forward, Two Steps Back tour to Australia, offering the chance for a unique career retrospective.

By Brian Wise

“I don’t want to think of it as preaching to the converted. I think that’s a bit unfair and it underplays the role that music can play in helping you feel that you’re not the only person who gives a shit about this stuff.”

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When Billy Bragg returns to Australia next April, it is not for your regular run of the mill tour. Instead, he will be presenting some very special performances with three consecutive shows over three nights in each state capital.

Night one will consist of a career set of favourites. Night two will feature songs from Bragg’s first three albums: Life’s a Riot with Spy Vs Spy (1983), Brewing Up with Billy Bragg (1984) and Talking with the Taxman about Poetry (1986). The third night will witness songs from the second three albums: Workers Playtime (1988), Don’t Try This at Home (1991) and William Bloke (1996).

Last time I spoke to Bragg he was in Nashville during Americana 2017 with Joe Henry promoting their album of railroad songs, Shine A Light: Field Recordings from The Great American Railroad. He also had the book Roots Radicals & Rockers: How Skiffle Changed The World. (since then Henry has been recovering from prostate cancer but Bragg assures me that Joe is making good progress and is back doing gigs).

While Bragg will not have a new studio album to promote, he has hardly been resting on his laurels. There is the recently released Best of Billy Bragg at The BBC 1983-2019 - a collection of 38 tracks, some of which were recorded for the legendary Peel Sessions. He also has a new book, The Three Dimensions of Freedom, a 100page ‘pamphlet’ on personal liberty and the responsibilities of citizenship. This year he was also the recipient of the 2019 Working-Class Studies Association Lifetime Achievement Award and a Trailblazer Award from the UK Americana Music Association (having already received a Spirit of Americana Free Speech Award from the US organisation).

The One Step Forward, Two Steps Back tour found its genesis when Bragg was asked to play three nights for the 75th anniversary of The Horseshoe Tavern in Toronto, a venue he played a lot in the ‘80s.

“I thought to myself, Well, how am I going to keep it interesting for three nights, and for me, never mind anybody else?” he explains.

“So, I came up with this idea that actually had its roots, weirdly, the whole concept, on the Shine a Light tour in Australia,” he adds.

ABOUT IT Planning a quiet excursion on The Ghan from Adelaide to Darwin after the Australian leg of his tour with Joe Henry, he found that the promoter offered him the chance to play three nights in Adelaide at The Gov, starting on a Monday.

“But when we got there, it was raining,” he recalls. “I thought, ‘This could a bit sad if I’m not careful.’ What to add to lift everyone’s spirits? It turned out, it was a Monday night before Anzac Day! So, as a result it was like Friday night and the place was packed.

“Because I hadn’t played a solo electric show for about a year, I was kind of open to suggestions. At one point we got on a bit of a jag of seeing how much me and the audience could remember of Brewing Up, my second album, and we damn near played the entire album. They had to sing some of it, because I couldn’t remember the words to some of the songs. But we had such a great time, that when it came to thinking about these shows in Toronto, I thought, ‘Well, if I get a bit of that spirit from The Gov, that vibe because obviously people really enjoyed that.’ It was a surprise for them and they really enjoyed that deep dive into that particular album.

So, I thought I can’t really do one album a night because, as you’re probably aware, my first album is only 17 minutes long - I can and have played it as an encore. So, it needs to be a bit more than that.”

The idea to showcase the first six albums over two nights and have one night with a ‘greatest hits’ set was born.

“It worked in Toronto. It’s worked really nicely in Auckland. I’ve done it four times now in the US,” points out Bragg. “I was over in Dublin and it seems very popular with audiences. So, I’m really enjoying it because it takes me to a different place.”

I suggest to Bragg that many of the songs on those early albums are either still relevant or have become relevant again given the current situation in Britain with Brexit.

“Yeah. It’s fucking annoying, isn’t it?” he agrees. “I’ve written a song about it so you’d figure it’d be sorted now, wouldn’t you?

Sadly, music doesn’t work that way but I think if you’re going to write topical songs, you can’t be surprised if they’d become topical again. I mean, look at the songs on Woody Guthrie wrote. How many of those songs from Mermaid Avenue still chime? ‘All You Fascists Bound to Lose’, you know? You could go and play that tomorrow in Portland, Oregon, and it would be as contemporary as anything.”

“I mean, the whole sort of sense that the country is completely divided like it was in the 1980s, is back again,” notes Bragg about Britain. “I would say it’s even more divided now. You know, Brexit has

run a crack through everything: through families, through friendships, through political parties. It’s not the same old left and right politics anymore. It’s much more complicated now.

“Everybody’s having trouble because the issue demands that you’re either for it or against it, where actually, the nuances of Brexit are absolutely crucial because for those of us who want to remain in the European union, the biggest impediment to us leaving are the nuances of the Good Friday Agreement, the nuances of the Irish border, and there will be the nuances of our intricate trade agreement arrangements with the European Union. Around an issue like this there’s a lot of grey, a lot of detail, and it’s really, really important detail. It can’t be ignored.”

So, when he sings a song like ‘A New England’ does it have the same import now that it did when it was originally released back in 1983?

“I think that’s always resonated with my crowd,” responds Bragg, “thanks a lot to Kirsty McColl, for that. But if you’re talking about a song like, ‘Between the Wars’, the line that stands out of that now is, ‘Sweet moderation, heart of nation, desert us not.’

I know I don’t sing the last line now, I just let that line hang in the air because it’s the penultimate line in the song, and I just let it hang in the air because kind of that’s where we are.”

If Britain is divided what about Bragg’s audience? Is he preaching to the converted or does he sometimes get a negative response? What do you get in England as opposed to the US? “Well, the shows I’ve done since Boris Johnson became Prime Minister, I’ve got a very positive response to the rather disparaging things I’ve had to say about him,” he laughs and bristles at my suggestion that he ‘preaching to the converted.

“I don’t want to think of it as preaching to the converted,” he continues. “I think that’s a bit unfair and it underplays the role that music can play in helping you feel that you’re not the only person who gives a shit about this stuff. Because of the nature of social media, it can be quite sort of isolating to feel there’s all that shit going on and you’re trying to make sense of it.

“So, coming to a gig where a lot of people there are queuing for the same kind of things, that sort of solidarity you can get from that is really, really important. There is a solidarity in song, that’s a very, very important aspect of what I do. I know it’s true, anybody, it doesn’t have to be a political song to give you that feeling.

“You can get that feeling that if you go and see your favourite artist, let’s say it’s Adele, and she’s recorded a song that you’ve sort of invested a lot of emotion into, and she’s singing it, and you’re singing it, and a thousand other people are singing it, you kind of feel accepted, don’t you? That’s an important thing. When Adele sings her songs of heartbreak and all her fans reflect on that heartbreak and feel for her, no one says, ‘She’s preaching to the converted’ do they?”

But is it true some people on the other side of the argument don’t want to hear his particular point of view, I add.

“Well, they’re not coming to my gigs. I can tell from that now,” he responds. “If they’re not wanting to hear what a toerag Boris Johnson is they tend not to turn up to my gigs. But I’ve been talking about this at summer festivals and been getting a positive response at summer festivals. So, it’s not just people who are paying money to come and see me.

“So yes, these are divisive times. I’m trying to bring the audience together around the sense that we can do something about this.

It’s trying to give the audience some kind of sense that it’s not beyond them to have some agency over this.”

What about his audiences in America?

“I’ve always found the Americans have been very conducive to what I’ve been talking about,” he continues. “I’ve written a long essay called, The Three Dimensions of Freedom, which argues that the American definition of freedom, which is the right to say whatever you want, whenever you want, to whoever you want, with no comeback, doesn’t really constitute freedom in the strictest sense.

That in order to be truly free, you not only need free speech and liberty, but you also need equality. That is respect other peoples’ views, but most important of all, you need accountability.

“The lack of accountability in the American political discourse is absolutely astounding that Donald Trump can just walk away from the podium, like he did at the G7 when someone asked him a question about climate change…..that lack of accountability is starting to creep into British politics as well.

“I would argue that socialism is a form of organised accountability. That’s what it’s all about. As is the politics of the environment is all about accountability. Black Lives Matter is about accountability. Me Too is about accountability. These accountability movements, I think they’re the cutting edge of American politics at the moment. So, that’s how I’m kind of trying to pitch my arguments into their debate in a way that connects with where I perceive their debate to be.”

BEST OF BILLY BRAGG AT THE BBC 1983 – 2019 is available now through Cooking Vinyl.

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HARVEY RUSSELL

By STUART COUPE

H

arvey Russell is part of a new breed of Australian performers not totally comfortable being lumped into the increasing catch-all genre umbrella of Americana. Ask him where he fits in the musical landscape and he doesn’t quickly reach for the easy answer.

“It’s not popular to talk about genres but I like what Dale Watson has done with Ameripolitan and reclaiming parts of the roots – be it honky tonk and western swing, and rockabilly,” Russell says.

“That definition gives you some real clarity as far as I can see. It’s much more defined than that broad church of Americana.”

When it comes to his own superb debut album as a soloist, Liquid Damage, Russell knows clearly the turf he’s encompassing with his music.

“It’s designed a country record and I hope it meets those ideals,” he says. “In places I think I’ve hit the mark with a honky tonk feel and in other places I do feel it harks back to an Americana feel, but in the main it’s designed as a country music record in a more traditional sense.”

Russell is qualified to discuss genres and styles as despite this being a debut solo album he’s far from being a newcomer to these musical styles.

Growing up in Adelaide before moving to Sydney a decade and a half ago, he developed deep roots in country music from early days listening to his Dad’s record collection.”

The best of these were distilled into a comparatively short (just like the old days) album produced by Michael Carpenter at Sydney’s Love Hz studios.

Russell and his band, The Widowmakers (Aaron Langman – pedal steel and electric guitars), Jonathan Kelly – bass, Rick Burrows – drums) did most of the playing on Liquid Damage, with augmentation from Michael Carpenter (backing vocals. Piano, Hammond organ, percussion), Luke Moller (fiddle), Peta Caswell (backing vocals) and Jadey O’Regan (piano).

Already Russell has played shows in Sydney, Melbourne and Adelaide as well as the Nimbin roots music festival to promote the album and intends to continue to do so whilst scheming’n’planning’n’hoping to get overseas it.

With Peasant Moon, Russell went to the Americana festival to play a gig “off to the side” as well as performing at Canadian Music Week in 2016 in conjunction with gigs organised by Sounds Australia.

In the ideal world Russell says he’d like to get to both events again in 2020 as well as playing some gigs in the UK. One can only hope this eventuates. It’s a crowded field out there but Liquid Damage is a world-class album and Russell a superlative song writer and singer. We can only hope he and this album cut through the static. They deserve to.

Russell initially played as a member of the Harvey Swagger Band, and then more recently one half of the duo Peasant Moon.

Between Dad’s record collection and those projects there was the almost inevitable reaction against the music and an immersion in punk and grunge, something that’s far from uncommon amongst young artists working in this world.

“There was a rebellion against being immersed in Kenny Rogers and the pop country of the early 1990s,” Russell smiles. “I picked up on Lou Reed pretty early and then indie and grunge in the 90s.”

Pavement loomed large at that time. “They were just enigmatic – sometimes they felt like they missed the mark but there were just so many songs that you had to keep listening to. Then there were those Big Day Out’s with Sonic Youth, Mudhoney, Iggy . . . they were pivotal to me.”

Then came the move back to more roots orientated music of Ryan Adams which started to loom large for Russell in the early 2000s.

“Then I went back to Whiskeytown and then Wilco,” he says. “It’s a pretty standard progression I suppose. But I just immersed myself in the song writing and lyricism that Tweedy was writing in that era.

And then obviously A Ghost Is Born took it to another level. And of course way back, Neil Young and Bob Dylan were always there for me in the background and I still look back at some of the Bob Dylan shows I’ve seen and am mesmerised.”

After Peasant Moon came to and end after a couple of EPs and overseas visits, Russell started to feel the pull to write songs for his own record, as he evolved from the darker folk Americana that had categorised that project.

Out came a raft of songs that sit comfortable in the cannon of traditional country music – there’s observations on late night bar hangin’, loss, addiction and heartbreak.

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HOLLOWING OUT HIS OWN SOUND The Earl of Grey’s debut recording was inspired by his life journey.

A MAGIC KHRISTIAN A chance meeting led to Khristian Mizzi’s latest recording.

By Michael Smith A chance meeting at a friend’s party a few years ago not only gained Moe-born Melbourne-based folk singer-songwriter Khristian Mizzi a record producer in Kalju Tonuma and a guitarist in the latter’s partner, Megan Bernard, but also found him a friend, something he treasures even more. Both led to the recording, in an old farmhouse, of, first, Mizzi’s 2017 self-titled second EP, and now his debut album, Some Other Morning (Arty Records/MGM).

“We had very similar backstories,” Mizzi explains, “with families – we both have kids – and also our musical influences – and he agreed to produce an EP for me. Recorded pretty much live we were just testing the waters I guess to see how it would work and we were both really happy with the result.

Over the course of the past two years we’ve developed a really strong friendship and I hope we were able to capture some of that on the record. He plays a lot of instruments and his partner Meg, who’s a wonderful artist in her own right, plays a lot on it as well. She’s very creative. So it was a real family affair by the end.”

The strings that feature on a couple of songs were arranged by another friend, viola player Jason Bunn, who’s been with Orchestra Victoria the past 15 years, who called in a couple of orchestra members to fill out the parts he scored.

Like a lot of youngsters who grew up in the late ‘80s early ‘90s, Mizzi’s initial musical influences were the post-punk and rock bands of the day, and he even played in a couple during his teen years. But his inquisitive mind soon had him seeking out the roots of the music he was hearing 26

and it was a Leonard Cohen reference in a Nirvana song that turned it all around for him. Once he’d heard the Cohen album he bought cheap from a local supermarket, his direction was clear. He released a debut EP, The Road Between, in 2009. Once he’d found Tonuma, however, things really began to gel.

“I suppose these are the songs that I’ve had floating around for a few years,” he explains of Some Other Morning, “and I’ve just never been able to record them well enough for me to release them. I was lucky enough to work with a producer who was both patient and intuitive and he was able to work with me to a greater detail, where we could get the songs sounding as I would like them to sound. I’ve always tried to write from the same place, with people and stories and the simplicity of life, and with a bit of luck I’ll just get better with that. I do try and keep the audience in mind. Sometimes I just know straightaway that a song won’t go over, that they’re just my personal feelings that I had to get off my chest and that’s the end of its journey!”

While most of the songs on the album are about love, connecting and that sort of thing, like any real folk singer worth his salt, Mizzi also ponders some of the contemporary issues that impact on us all, from the exploding urban sprawl to our less than generous treatment of refugees.

“I am trying to point out some things that I think need addressing, but at the same time I’m not writing from a political standpoint or ‘from the mountain top’ kind of way. I’m just writing to present a different perspective.

“That’s what I love about the song writing process; the surprises that leap out and you have no idea where they came from. I try not to have too many preconceptions but sometimes I’m really surprised at what comes out, what’s in there. Because of the parameters in which you’re working

– the rhyming schemes, the rhythms, the melodies – you’re forced to make creative choices that you wouldn’t usually take to work out exactly what you’re trying to say. And some of that takes a whole lot of psychological exploration! So it’s really quite an amazing process. It’s still very much a mystery to me, how it all works. I love it!

“The album I think, as a whole, its overall story is about nostalgia and the world moving too fast for me,” he chuckles.

“Certainly faster than I can keep up, and I wanted to slow things down and take a moment to have a look at what we’re losing and what we’ve lost and where to go next.”

Somewhere in Nashville there’s a singer who should be singing Mizzi’s requiem to the guy who lost the girl who should have been dancing with him at their wedding – ‘The Bouquet’! “I would love to hear somebody take the song on,” he smiles.

“It did get a little bit of attention from a publisher in Nashville. He just said it was a bit too long [laughs]. He had some nice things to say about it if was just cut down, which I wasn’t willing to do. I think the story works as a journey quite well. I racked my brain to try to meet his criteria, because I really wanted that opportunity, but I just could not whittle the story down any more without losing something. So I kept it as it is and waved the Nashville opportunity goodbye! But I do love the country-folk sound of Kris Kristofferson and Mickey Newbury.”

So, there’s some “yearning” on the album, and some subtle “learning” to be considered, but overall Some Other Morning is also joyous and celebratory.

“Some people haven’t picked up on that,” Mizzi admits. “It’s supposed to be a positive record. All my songs in fact are supposed to leave people feeling a little better. But then I suppose the audience brings half the story to your songs themselves.”

By Michael Smith They say you have to have lived a little, loved and lost a little before you can really call yourself a songwriter, and while there have been some pretty impressive songwriters in their late teens and early twenties over the years who have given the lie to that, truth is for the majority of us, it’s a life lived that informs our work best. It’s certainly true of singer-songwriter Andrew Patrick, who travels as The Earl of Grey, even if, on paper at least, he looked like he had the right credentials from an early age.

“My father’s a pedal steel player,” Patrick explains, “and he’s been playing country music for as long as I can remember. He was a bit more of a rocker in the ‘60s and ‘70s, played in a few guitar bands and surf bands, but by the time I got to go to gigs with him he was a pedal steel guitar player in a country band. So that’s kind of where music started for me, just going along to gigs every week – I’d go and have a sleep in the back of the station-wagon when you could still do that! I grew up going to gigs and going to rehearsals, listening and listening. I never really liked country music though, I’ll be honest. The songs he was into didn’t really strike a chord for me. I feel that I don’t really write songs that get played on country radio, so there are lots of other terms that get thrown around – Americana and alt.country and all these others. I don’t know where I fit. I just try and write songs that I like the sound of, but I suppose ‘country’ is the main umbrella genre under which I find myself. It was certainly never the intention. My old man was the country musician, not me!”

That said, the way things turned out, it was probably the things Patrick found himself writing about that inevitably saw his music lean towards that alt.country singer-songwriter direction. For all those years hearing his dad’s bands, Patrick found himself taking a very different career path, and what with marrying young, his songwriting didn’t really come to the fore until he was in his late thirties, when his marriage fell apart and he found himself alone in a tiny apartment right in the middle of Melbourne, earning good money, sure, but without his family or real direction, that the muse finally began to flow – a sure-fire kick-starter situation for a good ol’ country lyric.

“The reality of the marriage breaking up,” he admits, “and the kids living up in Gladstone with their mother made the experience of living alone in a city which

was meant to be this great experience soured the whole thing and left quite a hollow feeling, and that’s where the song that became my first single comes from. It’s very autobiographical I suppose.

“Things have certainly turned around, but a lot of those songs – ‘Port from a Pint Glass’ – were written in that same little apartment.

So this EP actually bookends a section of my life that stimulated a lot of writing as a means to actually process things myself.

I’ve come out the other end, which is where the title track ‘Prince Charming’ probably comes from, where I’ve met someone and I’m still harbouring feelings of not being good enough because of everything I’ve gone through.”

Considering he’s only really been doing this whole solo singer-songwriter/Earl of Grey thing for two years, the fact that his Prince Charming EP debuted at #2 on the iTunes Country Charts and quickly made it to #1, pretty much out of nowhere – though of course these things never really come out of nowhere – is pretty impressive. The “killer” track on the EP though has to be ‘Hollow’.

“It was definitely the one, I think – for me and the folks that made it with me – that stood out. When I took it into the studio, it didn’t have that sound at all. It just kind of evolved over the course of us working on it, so it sort of took us by surprise, but I’m really proud of it. ‘Hollow’ certainly became the outstanding track on the EP. Not that I expected it to be released as a single – I thought ‘Prince Charming’ would do that – but ‘Hollow’ ended up being the stronger track anyway.”

The “folks” Patrick made it with were producers songwriter Lachlan Bryan and his multi-instrumentalist offsider Damian Cafarella from the Wildes. “As far as Americana music in Australia goes, Lachlan’s certainly up there with some of the most well-respected guys, so having someone on my team that has been around the block a few times and has achieved quite reasonable success for his young age I thought was a good idea.

“We didn’t set out to set a tone for the EP. Given that it was my first release, the thinking was to record a ‘business card’ to a certain extent. So, it was try and play tracks that were strong in and of themselves but were able to showcase different styles, different emotions, and I think we certainly got that. It’s great that ‘Prince Charming’ comes out as a bluegrass track though, because it does have a different mood.”

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LIFE IS FINE With a new album inspired by birds, a new version of the anthology Songs From The South, a collection of his favourite poems and the forthcoming tour that includes the Making Gravy concerts, Paul Kelly is busier than ever!

The biggest surprise is that Paul Kelly’s appreciation of birds is a new thing.

For Kelly, becoming a noticer of birds is something that’s happened almost by accident – inspired by his partner’s love of birds and his own bent for poetry. “My interest, and awareness, of birds is only from the last few years,” he says. But it hasn’t taken long for him to strap on the binoculars and get out amongst it. “I’ve been out a few times. I love it and I just try to keep my ears and eyes open.”

The new album, Thirteen Ways to Look at Birds, takes the bird-inspired poetry of John Keats, W.B. Yeats and Thomas Hardy and mixes it with the more Australian concerns of Gwen Harwood, A.D. Hope and Judith Wright (who gets two poems, ‘Black Cockatoos’ and ‘Thornbills’ put to music).

Other highlights include the wordless ‘Black Swan’ accompanied by ominous cello and New Zealand poet, Denis Glover’s ‘The Magpies’ with its refrain: ‘Quardle oodle ardle wardle doodle, the magpies said’.

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No lyrics, yeah. It doesn’t need lyrics, it’s sublime. Also, the albatross features in one of the most famous poems in the English language, Coleridge’s The Rime of the Ancient Mariner where he kills the albatross and the ship becomes cursed. The other interesting thing I noticed doing the record, poets like Thomas Hardy and Judith Wright, they describe birds very accurately. But, at the same time, the birds become symbols as well. ‘In the Darkingly Thrush’, Hardy’s describing a bird very accurately but, by the end of the poem, the bird is symbolising hope and new life and renewal. In ‘Black Cockatoo’, Judith Wright does the same, but she also suggests change, a change in the weather. They both freight their birds with symbols as well as describing them as they are. This is what great poetry does.

My favourite song off the record is ‘The Windhover’, which is taken from the Gerard Manley Hopkins poem.

(Windhover being another name for kestrel). Why does that song work?

The song works well because of the words.

The rhythm is so strong in his poems, not just that one. His language is fresh, he joins words together like, ‘dapple-dawn-drawn falcon’. There’s a lot of alliteration, the riding and the rolling. The rhythm and the majesty and sweep of a bird of prey flying, it’s just all there.

By Christopher Hollow

For me, birds have always been a part of my life. My father was a birder. He raised pigeons as a kid, looked after budgies, rogue cockatoos and orphaned owls. On bush walks and long drives, he’d make sure to point out his favourite robins, kingfishers and kestrels. Neville Cayley’s What Bird is That? took pride of place in the bookshelf.

Bert Jansch’s late-70s avian-themed instrumental LP, Avocet, was a regular soundtrack to the weekend.

You mentioned the albatross, which is obviously the name of the number one bird song of all-time, Fleetwood Mac’s ‘Albatross’. No lyrics.

It’s a welcome addition to a back catalogue full of water, beaches, fire and trains (which all feature on the new re-release of Kelly’s greatest hits compilation, Songs of the South).

To prove that all good things come in threes, there’s also a new poetry anthology curated by Kelly called Love Is Strong as Death.

Have you ever been swooped by a magpie?

Not for a long time. As a child it happened occasionally in Adelaide. But it hasn’t left any lasting scars. I still like magpies; they make me happy when I see them, and I love the sound of them in the morning.

Ever been attacked by a black swan?

No, I have not. But I’ve taken great pleasure in showing people from the northern hemisphere the black swans on our doorstep. They think it’s an amazing thing.

I’m rightfully wary of them. Sometimes, with children around Albert Park Lake, I’m always making sure we don’t get too close.

Has an owl ever called out your name?

(Laughs) No. One day, perhaps, it will happen before I die. Then I can die a happy man.

What’s the holy grail of birds for you?

I would love to see an albatross. If I ever got to see an albatross, I’d get pretty excited.

But the bird that has most impressed me, I’ve only seen it once in Tonga, is the frigatebird. They look weird and otherworldly. They’ve got this bent wing. There was a few of them in the sky when we were out on the water. I don’t think in terms of the holy grail but that’s the bird that’s struck me most forcefully.

Holy grail is obviously not the right phrase – birds have been worshipped long before any religion we know of. Maybe I’m denigrating the bird world by putting something like religion on top of it.

Oh, no, I think that adds to it. I think that’s part of the fascination with birds. Birds are amazingly impressive in themselves - just to observe and look at their behaviours, the incredible speed of a wren, for example, or a hummingbird. There’s a great book

by Jennifer Ackerman called The Genius of Birds, which opened me to their incredible capabilities and intelligence. But, the mythological aspect of birds has been around a long time. Zeus disguising himself as a swan to seduce Leda. Birds as omens and auguries.

There’s a lot of birds in the poetry anthology you’ve put together. Plenty of crows, barn owls, tawny frogmouths and wild swans.

to the banks of certain rivers.’ I carried that line around for a long time and it mutated into a song at a certain point.

What was the first line of poetry that you consciously memorised?

The first poem I consciously memorised was ‘Ode to a Nightingale’ (by John Keats), which we did in Year 12 English. I like memorising poems. I don’t memorise them accidently, I consciously memorise them to make them stick. I do that more these days.

Pick a poem and say, ‘I want to learn that one so I can have it with me for when the internet breaks down’. (Laughs).

Even with the internet, and everything being available all at once, it’s good to have places you can go, with taste you can trust.

Yeah, anthologies are great, it’s a good jumping off point. There was an anthology

by Seamus Heaney and Ted Hughes called The Rattle Bag and they had their poems in alphabetical order, by title, which is a great way to organise it. It totally randomizes old poems next to new ones.

Funny ones next to serious. Earthy ones next to transcendent. Then the poems start to make these connections between each other that you wouldn’t have previously thought. I’ve done the same.

There’s 3000-year-old poems, the ‘Song of Solomon’ is in there. There’s a couple from the Greek tragedies, some passages from Homer. It’s the same as MONA in Tasmania.

When I first went there, I liked how they had old next to new art. Rather than saying, ‘The antiquities are over here, in this galley here we’ve got the modern art, over here we have the Impressionists’. I like mixing things up like that.

Over the last five years I’ve been in the habit of putting poetry to music and that’s reflected in the Shakespeare sonnets (2016’s Seven Sonnets & a Song) and this record and the last record, (2018’s Nature), and the title-track of Life Is Fine was also a poem.

So, it’s become another way for me to write songs. It’s dovetailed well with Penguin asking me to put out a book of my favourite poems. All the poems I’ve put to music and all the poems to do with birds, they’re all in there. As well as about 250 others.

You’ve got Clive James in this anthology.

His writings and his insight over a long career are lauded, his poetry not so much.

In the introduction, you highlight the one-line Ko Un ‘Morning Birdsong’ poem, ‘I didn’t die. Waking up, I hear that.’ It’s a stunning line that points to further stories, emotions, hemispheres and dimensions. What’s the single line that you’ve composed that does something similar?

Oh, no, I can’t. I’ll just give you one that I can think of right now. ‘There’s a river somewhere up around the bend. When it hurts, that river has always been my friend’, from ‘Letter in the Rain’. I just want to point out that it’s adapted from the Polish poet Czeslaw Miłosz, ‘When it hurts, we return

You’ve released Songs of the South a couple times; it hasn’t featured anything from your time with the Dots. What’s your relationship with the songs of the Dots?

To me, they’re not songs I sing anymore. It was me learning how to write and it took a while to find my own voice. I’ve made my peace with them, but I don’t need to have anything to do with them anymore. I was still working out how to write songs, it’s early work and maybe some other people are interested but I’m not. If people want them bad enough, they’ll find them but it’s not up to me to put them out there. I mean, they’re out there.

I love his poem, ‘Japanese Maple’. For me, most poets I look at, most of their poems don’t catch fire but some do. Clive James, he’s written some good poems, ‘Japanese Maple’ is a beautiful poem about dying, about life. I’m not worried about the rest of his poems. What was that one, ‘Bring me the sweat of Gabriela Sabatini’, it’s not one of his best.

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GOOD TO BE GEORGE THOROGOOD & THE DESTROYERS HAVE BEEN BAD TO THE BONE FOR 45 YEARS – THE HALF CENTURY IS IN SIGHT.

BY SAMUEL J. FELL

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“Good on you mate!” George Thorogood’s instantly recognisable voice booms down the phone line, albeit in this instance with a twist.

“I speak a little Australian,” he goes on.

“She’ll be right. Crikey.”

His Antipodean accent is passable, as it should be – Thorogood, this year celebrating 45 years since the formation of his seminal blues rockin’ band, The Destroyers, has graced Australian shores a number of times. And, to my surprise, he remembers every time.

“Yeah, I can run it down for you,” he says, all casual like. “We first hit the continent in ’81, then ’83, came back in ’85. I know we were there in in 2005 and 2011 with Joe Cocker, and we came another time, we stopped briefly in New Zealand and played with Carlos Santana, then over to your continent. So it’s been at least half a dozen times.”

Thorogood and The Destroyers will play Australia once again in early January next year, a short and sharp burst this time around as part of the global Good To Be Bad Tour, which has also been dubbed the 45 Years Of Rock Tour; that is, Thorogood and The Destroyers have been bad to the bone, for almost half a century.

“Half a century,” he half-gasps, obviously not having heard it put such a way. “Oh my god, that makes me feel weak at the knees. I mean, I’m just glad I got through last night, and that I’ll get through tomorrow night.” Thorogood, who will turn 70 not long after this Australian tour, plays this angle a bit during our interview, but as anyone who’s seen the band in the recent past will attest, age is not wearying this rock ‘n’ roller.

D A B

“Well, you can’t just rehearse before you go to Australia, you’ve gotta go into training,” he smiles. “You’ve got some very high-octane people yourself down there, so we’ll do some serious training, hit the gym and make sure [we’re good to go].”

Thorogood began his musical life in the early 1970s as a solo artist, just him and an acoustic guitar playing the blues music he’d come to love. Another love though was rock ‘n’ roll and it was these two musical bedfellows which were to inform how this almost half century has panned out. It was in Wilmington, Delaware that a young Thorogood hooked up with drummer Jeff Simon (who is still with the band today), and not long afterwards with bass player Billy Blough (also still with the band).

They added players as they went, shed a few, began recording albums – George Thorogood & The Destroyers (1977); Move It On Over (1978); Bad To The Bone (1982); Born To Be Bad (1988) amongst them – there have been sixteen records all told. In 1999, Jim Suhler joined The Destroyers on rhythm guitar, and in 2003, Buddy Leach brought both his saxophone and piano prowess; both are still there in 2019. Their hits are legion, including of course ‘Bad To The Bone’ and ‘I Drink Alone’, along with their seminal re-workings of blues classics like ‘Who Do You Love’ and ‘One Bourbon, One Scotch, One Beer’.

In 2017, Thorogood released his debut solo record, Party Of One, an album which did well – I venture that it would have been, as an artist, a nerve-wracking time, given he’d

not played in this guise since pre-band.

“Yeah, it was,” Thorogood concurs, adding with a laugh, “And it was nerve-wracking before the band, let alone 40 years later.

Maybe I should have kept my mouth shut.

But, for me, making all records is nervewracking. But to sit there alone… it’s all on me, don’t over-estimate me, I’m not Taj Mahal you know.”

The album did well, although there are no immediate plans to replicate the experience, no great hurry. “No great hurry,” he laughs, “very well put.” That confirms it.

After Party Of One then, Thorogood picked up where he left off with The Destroyers.

Speaking of the band, I mention to him, The Destroyers’ last studio record was 2011’s 2120 South Michigan Avenue, are there plans for another band record any time soon?

“Why, don’t you like the records we already have?” comes the prompt reply. I tell him I do like those records. “Fine, that sounds good to me!” he says, and that seals the deal. For Thorogood and band, it’s all about the music, and playing that music to their millions of fans across the globe.

Fans that, in only five more years, will be helping to celebrate 50 years of being bad to the bone, which ain’t no mean feat to be sure.

George Thorogood & The Destroyers play The Forum (Melbourne) on January 20, and The Enmore Theatre (Sydney) January 22 & 23.

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E R O F E H T O T N

STER

thus far. It’s something that I care so much about that I want to do it right, without rushing into it.”

Last year, Stern was also involved in a symphonic homage to Violeta Parra, commemorating what would have been the legendary singer-songwriter’s 100th birthday. Nano says every time he steps on stage, he feels the spirit of nueva canción, Chile’s revered social-movement music, and particularly Its guiding lights, Violeta Parra and Victor Jara, who suffered at the hands of the bloody coup and military dictatorship perpetrated

by Augusto Pinochet in the early 1970s. “Their presence is always there in what I do because without them I wouldn’t be doing anything like what I do. They’re an exemplar on many different levels.”

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Instrumental music and an increasing interest in early music, as well as poetry, have become an important part of Stern’s everyday life: “I’ve been listening to a lot of renaissance music, especially Italian madrigals of the 1500s and learning a whole lot from them, especially regarding the connections between music and word. By opening up those spaces, I think I’ve in a way decompressed my songwriting, allowing it to be more pristine and straightforward.”

“I’m emerging from a rather dark period in my writing where I’ve been busy with the ever more crazy world we live in and I’m starting to look deeper within myself, exploring the more subtle scapes of inner experience.” Nano indicates that he’ll be performing some of the new songs during the upcoming Australian tour. “They’re much more introspective than those on my past albums,” he reveals. “I find these times to be so lacking in humanity that perhaps the only way of expressing what I’m feeling in an honest way is not through evident protest or social commentary, but rather through subtler, deeper inner processes.” That doesn’t necessarily mean that his new compositions are melancholic or mellow. “Sometimes, travelling inwards can be an invigorating trip,” he exclaims.

The charismatic South American returns to our shores as a high-flyer!

By Tony Hillier

As an unheralded singer-songwriter from Chile in his early twenties, Nano Stern snuck in under the radar at the 2007 Woodford Folk Festival, on his Australian debut. A dozen years on, as one of the headline acts at this year’s Mullum and Queenscliff Music Festivals, the charismatic South American returns to our shores as a high flyer, having mesmerised audiences at just about every other major Aussie roots music event in the interim, including WOMADelaide and Port Fairy Folk Festival several times each.

Stern is now a household name in his native land, where he even hosts his own annual festival, and he enjoys a growing reputation throughout South America, the States and Europe.

The USA’s ‘Queen of Folk’ Joan Baez has hailed him as the best Chilean songwriter of his generation. Despite the accolades and his impressive achievements, the young man’s feet remain firmly planted on terra firma. A deep thinker and humanitarian, Nano remains a passionate advocate for social justice. As personable, humble and articulate as ever, at 34 he still sports the cherubic looks and lank locks that framed his countenance on that first trip down under.

Over the years, Stern has developed into a magnificent all-round musician — a singer, composer, multi-instrumentalist and raconteur par excellence. He’s also a talented poet who’s currently preparing a couple of books for publication. His poems have received approbation from Chile’s poet laureate poet Oscar Hahn, a protégé 32

of the legendary Pablo Neruda and an artist that Nano holds in the highest regard. Indeed, the advance single from what will be his tenth album when it’s released in 2020 is a sonnet based on one of Hahn’s best-known works, ‘El Doliente’. “It bears the sign of simplicity and optimism that I want to portray in this new album,” he reveals.

In an interview for Rhythms, Nano indicates that he’s been moving towards simplicity in songwriting following a couple of experimental EPs, Santiago and Lucero, in which he intentionally stepped out of his natural musical milieu. “I feel like I’m ready to just go with the flow again, having learned much from those experiences and having allowed enough time to pass for new colours to appear naturally. In the past couple of years, I’ve become involved in a zillion different projects, which have opened new spaces for me to develop my many artistic interests.”

One of many different projects that he has become involved with is a symphonic concert paying homage to the music of Congreso, one of the most notable fusion bands in Chilean music. “I totally love singing with an orchestra,” Nano imparts. “I’ve been playing violin since I was three and I did a lot of orchestra playing back in my childhood, so it’s a language that I understand, and I can relate to as a singer without feeling intimidated or becoming the diva. I’ve been asked to do symphonic stuff with my own songs but have refused

Stern set the bar high with his last long-playing release, 2015’s magnificent Mil 500 Vueltas, the most expansive album of his career hitherto. “I did feel the pressure of having to follow up such an ambitious album, but I diverted that feeling by doing exactly the opposite of what the industry wanted me to do, which can be clearly appreciated in the aforementioned EPs that came after.”

Mil 500 Vueltas featured a cameo from Joan Baez, a favour Nano returned with a guest spot at the folk deity’s mega 75th birthday concert in New York. He considers himself extremely fortunate and privileged to have received support and love from older artists that have been his inspiration. “Musicians like Joan, IntiIllimani, Susana Baca, and many others, including Shane Howard and Kavisha Mazzella in Australia, have not only helped me immensely in opening doors, but have also taught me the value of humility and honesty, the most important ingredients in an artist’s path.”

Stern will be performing solo on this month’s Australian tour, following his 2018 sortie with compatriot sidemen. “I really like alternating between different formats. It keeps the music alive and prevents you from becoming too comfortable in any given situation … sort of a tip-of-your-toes feeling that’s a constant source of adrenalin and new ideas.”

Nano Stern has fond memories of his debut performances down under, though he finds it hard to believe that a dozen years have passed since. “It was a blast — it opened up a whole world for me and it meant the world on many levels. It was an incredible push of energy and I got to meet a lot of people who I still consider to be great friends and collaborators.”

Nano Stern plays the Mullum and Queenscliff Music Festivals, November 14-17 and 23 & 24.

The brand new limited edition Rhythms Americana style t-shirt is available now for a special price of

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Simply go to: bandtshirts.com.au/shop/rhythms-magazine 33

It was nothing short of genius when Aussie rock deity Jen Cloher hit upon the idea of joining forces with two other equally cosmic singer-songwriting, guitar-slinging dynamos, namely Mia Dyson and Liz Stringer. The idea was to record what became an eponymously titled three-track EP – featuring a tune from each – and hit the road for a 40-date national tour.

Naturally, the mini-supergroup was a rollicking success – by harmonising each other’s songs DSC swelled into collective that surpassed the sum of its already stellar solo parts. “I can remember thinking that it was a great idea,” Stringer says. “Jen, Mia and I had already been friends for several years by that point, toured together and loved each other’s music, so it felt like a really fun thing to do.”

It was also a case of more hands making for lighter work. For instance, when they applied for grants to tour regionally, they nailed all of them. The collective element also operated as an unexpected pressure valve. “It’s such a joy to be on the road with your friends and to also share the load of being the band leaders,” says Dyson.

“When I’m on my own, even with this wonderful band that I have, which is very supportive, I still feel the weight of people coming or not coming to see me play. So, with Jen and Liz it’s more water off a duck’s back if ticket sales are low or we get to celebrate with each other if it’s sold out.”

Despite the fact that it was such a blast, it’d suddenly been six years between dips at the DSC well. Suffice to say, a lot went down in the interim. Stringer upped stumps and moved to Canada for a start, and all three maintained prodigious output, including six studio albums, international tours and a swag of awards between them.

Happily, owing to a timely recording pause in their solo careers, the opportunity for

another crack at DSC presented itself.

This time, the band has the self-named Dyson Stringer Cloher full-length album to show for its efforts. “The timing was right for all of us,” Stringer explains. “We were all in between album cycles. It was good timing for me personally because I didn’t want to concentrate on my solo stuff for a little while – it gets a bit tedious and a bit self-obsessed and quite lonely pushing your own music. I think all three of us knew somewhere that it would happen eventually, but it needed to be the right moment. It wasn’t something any of us wanted to crowbar into our schedules.”

“We’d basically been looking out since 2013 for the time and moment to record a fulllength album,” concurs Dyson. “We didn’t know for sure this would happen, but we kept writing together whenever we were in the same place – we even booked a week together in Portland to take the opportunity to write for the project, hoping that one day the space would open up to record.

Then, some time last year, we all realised that it would make sense to record in April this year and release it toward the end of 2019. To try and force it with three people who have their own careers just didn’t make sense.”

Fans were keen too, of course. “It was beautiful – you’d see the odd t-shirt around Melbourne,” says Stringer. “It was encouraging for us that people would say, ‘when are you doing that thing again?’. It was kind of proof we were on to something.”

Rather than revisiting their own tunes as per their EP, Dyson Stringer Cloher sees each member sharing songwriting and arranging credit on every track. “The idea of writing together was something we always aspired to,” Stringer reflects. “I think we all knew that if we were going to reimagine this project, it needed to be with a set of songs that belonged to the band. We wrote this bunch of songs together, we recorded them together and we’re releasing them together. As opposed to three singersongwriters coming together, we feel like Dyson Stringer Cloher is a band.”

Hence, while some of the songs were brought to the table part written for input from the others, most were nutted out collaboratively in the lead up to a recording and mixing marathon at The Loft in Chicago, AKA Wilco’s recording studios.

The decision to record at The Loft was a no

34

brainer. Cloher was a fan, having already recorded her EP Live at The Loft and Loew’s and mixed her fourth album Jen Cloher there. “That place is like a wonderland for musicians,” Stringer enthuses. “It’s just the most incredible collection of instruments I’ve ever seen, and we had access to anything we wanted there. We also had Glenn Kotche from Wilco playing drums, and he was just the sweetest and best guy, and an incredible drummer, obviously.

Mia Dyson, Liz Stringer and Jen Cloher combine talents for a unique ‘supergroup’.

By Meg Crawford

“I had real moments in that studio of being so overwhelmed by how happy I was to be there. It was like being a kid in a candy store. It was just so fun and validating to be in a space like that and to really feel that all of our experience and work has got us to that place.”

Dyson was similarly elated by the experience. “We recorded and mixed the record in eight days, which is insane, but it wasn’t rushed. Part of it is how incredible Tom [Schick] is as an engineer and that studio hums along like a well-oiled machine, but it’s also a reflection of the years and years Jen, Liz and I have in the studio that we bring to bear that mean we know what we’re looking for – not always – but that experience really does add up to something.”

Working on the album also gave DSC an opportunity to nail down its identity. “When we did the EP, we weren’t even really sure what we were at that point,” Stringer muses. In contrast, a truck load of thought and work went into defining their territory this time around. Take, for instance, the bold imagery accompanying the album, including the picture of the three resplendent in killer green, red and blue custom-fit suits. Then there’re the clips for ‘Falling Clouds’ and ‘Believer’, both of which are short-film gold. ‘Falling Clouds’ sees the trio in drag as Bowie, Freddie Mercury and Elton John, while ‘Believer’ is an inspirational tear-jerker following 16-yearold Lulu Beatty, Cloher’s neighbour, as she trains for footy with an eye on playing for the AFLW. “This is a much more involved project,” Stringer offers. “It comes through in the writing that we did together, all of the artwork, the way that we present as a band, making videos together, and talking together about what we wanted to be, what our ethos is as a band – all of this has happened at this phase of the project.” >>> 35

UPCOMING GIGS >>> As you’d expect, harmonies are at the fore of Dyson Stringer Cloher. “We really wanted to make this album so much about our voices,” Dyson explains. “Without forcing it, we wanted to find interesting and intricate ways to use our harmonies to enhance the songs. That was really fun. We did a lot of that in pre-production in Chicago before we went into the studio. We had about a week where we’d try this harmony, that harmony, all three together. Just nutting out those things together, and we’d all know, ‘that’s the one’ – it was just obvious, so there wasn’t much argument at all.”

DCS is also a celebration of women at the top of their game. “It centres around being really strong in who were are – we’re women who are in their late 30s, early 40s, we’re in a particular time in our careers, we’re very experienced now and we want to be very in control of how we present and run our shows,” Stringer says. Accordingly, the issue of empowerment features large on the album. The album also touches upon some topics that have resulted in nuanced discussion about gender – particularly, ‘Falling Clouds’, the paean to 90’s indie icons the Clouds and Falling Joys, which considers the under-representation of women and nongender conforming musicians at the pinnacle of the Australian music pantheon.

01/11 - Jeff Lang & Danny McKenna 04/11 - 50 years of the Carpenters 6/11 - Stephen Pigrim 7/11 - Rick Price & Dan Mullins 8/11 - Lost Ragas (launch) 9/11 - Rufino & the Coconuts (launch) 14/11 - Steep Canyon Rangers (USA) 16/11 - “Chained” - Fleetwood Mac trib.

19/11 - Joe Pugg (USA) 21/11 - Allensworth (USA) 22/11 - Alysha Brilla & Headphone Jones (CAN) 29/11 - Steve Poltz (CAN) 1/12 - Andy Baylor & the Banksia Band 19/12 - Small Town Romance XMAS show 20/12 - Mick Thomas Xmas show

That said, Dyson Stringer Cloher is not a didactic platter, although there’s plenty of insight to be gleaned for newer players. Take, for instance, ‘Too Seriously’, the country ode to that magic point at which you cease to care about what other people think. Exactly how and when do you get to there? Stringer responds.

“I think it just comes with age and having been around the block a few times and realising that you’re not the most important person in the world. It’s actually a massive relief realising that deeply. Everyone is just doing the best they can.”

Dyson Stringer Cloher is available now. Tour details are at dysonstringercloher.com

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The break-up of his band led to Jimmi Carr’s new lease of life.

By Michael Smith

The thing about life is that it’s always

throwing spanners into things in which you invest a lot of time, energy, creativity and love, whether they be relationships or bands (same thing really), and when those spanners appear you suddenly find yourself faced with the kinds of decisions you thought you’d never have to make. If you’re lucky though, that spanner becomes the key to a better place.

New South Wales’ Blue Mountains-based singer-songwriter Jimmi Carr was lucky, and the result of his metaphorical spanner is not only a new album, but also a whole new lease of creative musical life. His “spanner” was the unexpected breakup of his electronic/rock crossover act Innamech, which he described at the time as “progrock-tronica”.

“That was a bit of a wake-up call for me in a few different ways,” Carr admits, “and I guess I went back to what I know. I’d been writing heaps of stuff and had this big back catalogue. I didn’t feel I needed to push the boundaries; I could just do stuff that I liked.”

What Carr rediscovered was the freedom that had always been there in the genre in which he’d begun his solo career back in 2004. And what sort of music was he making before his jumped into the whole doof/electronic culture? “When you do press releases, you always have to come up with some sort of label, so I’ve kind of gone with that kind of alt.country thing, which is kind of trendy at the moment, but I don’t know how accurate that is. I’d say alt. country and funk style or alt.country and groove-driven rock, with melodic, catchy hooks.” Whatever the label, there’s plenty of diversity in there, from rock to funk, folk to ballad.

The pieces all came together again for Carr when he enlisted bass player Tom Pilgrim and drummer Lachlan McEwen into his eponymous Jimmi Carr Band. Together, they’ve recorded an album he’s titled Second Story.

“Probably sixty per cent of the songs are new,” he explains. “There’s one song, ‘Lonely Boney Bridge’, which actually appeared on the last Innamech record as an electronic kind of thing. I originally wrote it on acoustic guitar and always thought it would be really good in a band setting.

The arrangement’s quite different. It seems weirder to me now that it was ever an electronic track. Some of the songs were specifically written for the band and I think we’ve captured the band vibe pretty well.

“Lyrically, I’m kind of going through my second big attempt to clean up my act.

I’ve been through some issues, but there’s probably some stuff in there from having a band I really believed that split up. There’s also stuff that’s more outward-looking.

‘Monkey Kingdom’ for instance is a really political song. Also ‘Invisible Bones’ is a bit political. It’s kind of about where we are in terms of the Me Too stuff and my own quest to be a better guy, to acknowledge some of my behaviour in the past, just in terms of being a male human being. So I guess that’s a little bit political, but it’s also kind of fun.

And it’s meant to be uplifting.

“‘Crooked Second Three’ is actually about kind of musical déjà vu, where it feels like a song can be prophetic, where I’ve written this weird song and then all of a sudden you end up in that situation. You’re not really sure what it’s about and then you end up in this profound situation where it’s, like, ‘Whoa, this is exactly like the lyrics of that song that I wrote months ago that seemed really obscure at the time!’”

‘Invisible Bones’, complete with a private eye spoof video, and ‘Free Right Now’, which has picked up some solid community and Triple J airplay, have already been released as singles. Listening to the album, a number of words crop up time and again – going/leaving, freedom/free, messages, bridges/connection… and bones!

electronic stuff and then coming back to this,” he explains. “It’s the first record I’ve done that finally I feel confident that I’m a good songwriter and done good production. In putting the compilation alongside it and calling it Second Story – obviously wordplay or whatever – ‘there’s that, now here’s this’. Not that it’s, like, a departure from everything I’ve done. It’s ‘well, that’s that chapter, I’m forty now, now I’m a grownup, here’s the next chapter.’

But I probably would have said that when I was twenty-two as well!”

“I must admit I find it hard to talk about that stuff without sounding like a massive cliché,” Carr admits, “but I guess I’m talking about some dark stuff, though I feel that the general vibe of the album is quite hopeful.

‘Free Right Now’ is probably the happiest song I’ve written, ever. That’s about being present, wanting to move forward. It’s like a weird, belated coming of age record in a way.”

Carr has also put together a compilation - distributed by MGM – and the physical version of Second Story comes with a limited edition bonus disc that brings together Carr’s selection of the best of his previous releases, drawn from four albums and an EP, plus three Innamech cuts, titled simply First Story: Early Years, 2004-2016.

“Having done that whole other chapter, where I was being crazy and doing

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39

Jeff Tweedy talks about the new Wilco album and his relationship to the audiences

By Brian Wise

“If you say, ‘I don’t feel like the guy playing the guitar has had a bad enough day’ that’s open to interpretation and requires some imagination.”

“I’ve finished a lot of records and I never thought I’d finish a book. It was a satisfying feeling for sure.”

Jeff Tweedy’s recent memoir Let’s Go (So We Can Get Back) is not only honest – and sometimes excruciatingly so – but also conveys his humour and self-deprecation, often simultaneously. It ranks as one of the better music books of the past decade simply because Tweedy is blessed with an uncommon insight into his own character.

He might still have flaws but at least he knows they are there and can recognise them.

Contrast this with better-known and betterselling books but appallingly written books such as that by Keith Richards (to name just one) where the protagonist seems to have no self-awareness at all and Let’s Go comes across as refreshing and beautifully written.

It was good to be able to dig into the memoir before I spoke to Jeff Tweedy about Wilco’s eleventh album, Ode To Joy. It reminded me of his dry sense of humour which is often evident on stage, though some might just not get it.

A few days before talking to Tweedy, I was telling some American friends of the story Tweedy told about finding a huge spider in a Queensland motel room.

American tourists seem to be terrified of our allegedly dangerous wildlife and insects.

(Strangely, they don’t seem worried about submachine guns in their own country).

Rushing down to reception to report the threat he was greeted by an attendant who asked, “A huntsman?”

“Oh my god!” thought Tweedy. “The spiders here are so big they need a huntsman to kill them.”

When we catch up by phone to talk about Ode To Joy it is just a few days after his birthday – it is hard to believe he could possibly be 52 – and he tells me another quirky story when I asked him how he celebrated.

“I played a show at a festival by myself in Washington State,” he explains, “and did a radio performance and I went for a hike. I stopped at a farmer’s market that had put up a sign that said ‘Jeff Tweedy, stop for some free cantaloupe.’ Then I got some free cantaloupe, but they didn’t know it was my birthday.”

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The memoir also demonstrated that on the surface Tweedy might seem serious but, in fact, can also be extraordinarily forthcoming. It must have been difficult to write about his relationship with Jay Farrar and, even more so, about past addictions but he does so eloquently.

One of the possible downsides of the memoir is the fact that fans now know a lot more about Tweedy and feel as if they have the right to interject. During his gigs here earlier this year a few fans were perhaps a little too enthusiastic. Somehow Tweedy dealt with this gracefully, as opposed to someone like Ryan Adams who is famous for having a heckler ejected from the Forum in Melbourne many years ago for requesting ‘summer of ‘69’. (Adams didn’t see the funny side).

“I started noticing it after the book came out last year that the degree of familiarity that some of the audience members have with me, which was already pretty high I think, seemed to escalate,” agrees Tweedy, “and where people felt comfortable just having a casual conversation with me while I was onstage. I probably wouldn’t change that if I could. I think that’s probably what I’ve been aiming at in some way - some levelling of the field, some connection. It’s all about making some human connection, so I feel good about that. But you add alcohol into the mix, and you add other people’s egos, and there may be people that don’t get out very often or something.

Then all bets are off, and you might have somebody tell you you look uneducated on the side of the stage.”

Tweedy says it took him two years to write the book but that “I procrastinated. I really kind of steamrolled it into shape in about two months.”

“I was writing about eight hours a day for about two months to finish it before the deadline,” he adds. “I was really fearful of writing prose, so I initially used a bunch of transcripts from conversations I had with another writer friend. That just didn’t work as well I thought it would, so I basically re-wrote the whole book in those two months.”

I mention that he writes about some really difficult things really honestly and let’s his sense of humour shine through as well.

“Well, it’s a defence mechanism,” he admits, “that, maybe at 52 now, is becoming more finely honed. I definitely feel like I can get laughs sometimes if I’d feel more comfortable when people are less serious.”

Was it cathartic writing the book? Did he have the same feeling at the end that he does when he finally gets an album out?

“Oh, I think it was way more cathartic than finishing a record,” responds Tweedy. “I’ve

finished a lot of records and I never thought I’d finish a book. It was a satisfying feeling for sure. And I felt relief that I had gotten over my fear of writing prose, which to me, it’s always felt like the opposite of what I want to do.

“What I’ve been gearing my mind towards my whole life is distilling language into images and abstractions and emotions, and not necessarily clear storytelling. I haven’t valued clear storytelling as much in my life as maybe some people but because of that I thought that prose was maybe out of reach for me. At some point, I just kind of unlocked it and started writing. I think what it really required was me reading what I was writing out loud to myself, so I could gauge everything based on how easy it was to say.”

Since Wilco’s last album, 2016’s Schmilco, Tweedy has been really busy – even apart from publishing the memoir. He has released three albums (including Warmer earlier this year) but he has also been touring internationally.

You might think all that activity outside the band might have dulled the urge to get back into the studio again with his colleagues.

Not so. A year ago, I saw Wilco playing at a small festival in Texas and was amazed at how much vitality they had as they powered through what was the longest show I had ever seen them do. Tweedy seemed reenergised, full of stories (some bizarre) and really happy to be back with his band.

“This line-up of the band has been together for a lot longer than any other line-up of the band,” says Tweedy, “and for about as long as I can remember there’s been a great deal of gratitude onstage. It’s a really good feeling that we have when we play together, and it’s definitely been enhanced by taking a little bit of time away from each other.

It wasn’t like we were sick of each other when we went on hiatus, but it was sort of like a delayed gratification. I knew it was going to feel great, and it did. I do think that that contributed to there being some new creative energy in the band for the recording. I really feel like the shows coming up and the shows we’ve done already have already reached a new level.”

Of course, Ode To Joy was recorded at The Loft, Wilco’s Chicago studio, in which a number of Australians (including Dyson, Stringer & Cloher) have recorded.

“It’s a home away from home,” says Tweedy when I mention this. “I like to think of it as a comfortable place for people to live >>> 41

>>> and create. It just happened to be a coincidence I suppose that Tom Schick has worked on a lot of records by Australians while I’ve been on the road. I guess word has gotten around to other Australians that it’s a comfortable place. So, he keeps getting pitched projects that are from down under.”

“We don’t try and impose our sonic aesthetics on anybody,” replies Tweedy when I mention that The Loft seems to have a particularly warm sound. “But I think that there’s a depth to the recording that Tom does that is really professional. I don’t know what else to call it. He really knows what he’s doing, unlike a lot of people recording bands these days. He really studied under one of the guys that invented a lot of the way modern recording is done, and Walter Sear. So, I think that when he puts a microphone in front of somebody, it’s going to sound exactly like what they’re doing. For some bands, that creates a very warm type of realistic recording. For other people, it might be a little unnerving.”

Ode to Joy immediately feels like a classic Wilco album and while that might be too early a call, it is certainly as inventive as any albums they have made to date - but maybe in more of a low-key manner. The first single released from the album is a perfect example of this: some exquisite harmonies and a dazzling melody that you cannot get out of your head. The sound on other songs is more stripped back but no less impressive and there are plenty of Nels Cline solos to keep guitar fans happy. Dial up ‘We Were Lucky’ for an inventive solo of which George Harrison would have been proud.

Perhaps the most notable sound on the new album, even overshadowing Cline’s guitar is Glenn Kotche’s drums, which are right upfront and occasionally have an almost marching beat. They hit from the very first notes of the lead off song ‘Bright Leaves’ where they thump an introduction. Perhaps the military resonance has something to do with the themes of some of the songs, perhaps it is a not so subtle comment on US politics.

“We spent a great deal of time in the beginning of the project curating a drum sound that was hyper-real or something,” explains Tweedy. “It actually required not thinking about the drums as a drum kit and more thinking of them as percussion, and in a lot of cases, recording each individual drum separately and allowing them to have a full range of frequencies instead of a drum kit that you squash down in the corner of the stereo field and try to make sound like someone else’s record.

“I think it carries a lot of weight and that’s the idea - that the drumming is somewhat representative of some brutal monolith, maybe the unspoken dread that we were talking about. A certain amount of marching going on, which could be the pervasive feeling of there being some evil being propagated.”

Speaking of ‘marching’ being one of the images conjured up by the drum sound, ‘Love Is Everywhere (Beware)’ was inspired by the Women’s March on Washington in January 2017.

“I think the music was around before the march,” explains Tweedy, “and then afterwards I wrote a lot of lyrics because it was inspiring on one hand - and it was revelatory, maybe in a way that I hadn’t

paid that much attention to before.

“I think a lot of people in the United States really felt that once we elected a black president all of the problems of the past had been solved and that was very wrong.

It required a certain amount of engagement that, on one hand, I feel like I can blame the Obama administration for maybe not leading enough in that regard, and steering people towards more engagement. But at the same time, I don’t know what you would have been able to do because people really brushed their hands off and said ‘Well, that’s solved, that’s done’ and a lot of people went to sleep, I think.”

I tell Tweedy that having travelled in the USA since the current administration was elected it feels like there are two Americas.

“I think that there are six to twelve Americas,” he suggests, “maybe probably somewhere in the range of nine Americas, that don’t have anything to do with state lines and aren’t even contiguous. I’m not going to bore you with my theory about what they all are but I think that there’s an old Confederacy, I think that there’s an urban population, and there are some stranger, maybe old-world farming types of Americas. It’s a big country, it’s just gigantic, and it has a lot of easily exploited fissures and divisions that a lot of other countries don’t have.”

The title of the album, Ode to Joy, seems odd in the light of the current turmoil and especially as it is also the title of a famous Beethoven composition written in 1824 and part of the final movement of his Ninth Symphony.

“Mm-hmm, yeah, it’s a pretty famous piece of music I suppose,” agrees Tweedy. “Well, people write odes to a lot of things and I guess it could go either way.

“On one hand it could be a reminder to partake in that particular emotion, even though the world is falling apart at the seams. I think that what we’re fighting for is for the ability for people to experience joy and share joy and beauty.

“At the same time, people write a lot of odes about things that are dead. So, I thought it worked in both directions. I think there are some things that are mournful about the record. One of them is the sense that we are drowning in a constant state of ‘What did that motherfucker say today?’

[Which I presume is a reference to Trump].

It’s disturbing. Not only that, you have the knowledge of real damage being done to a lot of marginalised communities in our country and around the world, frankly.

“But mostly I just wanted to reclaim a certain amount of private, smaller emotions, in the face of greater suffering or greater concern. You don’t get to choose those, and I think it doesn’t help anybody to feel bad about having a good day.”

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I mention that it’s nice to have an ode to joy rather than an ode to despair, which could easily happen these days.

“Well, there’s probably something to be said for despair too,” says Tweedy. “A lot of things don’t happen until people get desperate.”

“When I’m not on the road, I go to the studio and I write every day,” replies Tweedy when I ask him about the songwriting process for the new album, “and I tend to accumulate a lot of material. So, most of the record was written and had some form of recording done to demonstrate - demos I guess - to the rest of the band what the songs were that we could pick from. Then once the ball got rolling, I wrote a couple of other songs that I felt like were needed in the context of the record. ‘We Were Lucky’ was written later in the process because I feel like we didn’t really have that tempo or that mood, and I really wanted to hear Nels. I wanted that feeling of that guitar catharsis to feel like something that had been withheld for a long time and then unleashed.”

One of the major additions to Wilco’s sonic palette was Nels Cline’s guitar, who is now a fifteen-year veteran of the band. Like Tweedy, and the other Wilco members, Cline has plenty of side projects to keep him busy as well.

“He’s one of a kind,” states Tweedy. “He’s one of a handful of master musicians on the planet as far as I’m concerned. He’s pretty much capable of anything. I feel very privileged just to know Nels as a human, much less get to play in a band with him.

He’s a fantastic, generous person with endless talent. In some cases that can be tricky because he can do almost anything, and I think it takes him a while sometimes to figure out how to weave himself into these simple folk songs. Left to his own devices, he’s very comfortable just playing atmospherically and playing things that you don’t notice are guitar, even. Sometimes you have to prod him a little bit and say, ‘I think people want to hear you step out a little more.’

“Well, maybe,” laughs Tweedy. “I don’t know. I’m sure he said a lot of fucked up things.”

Prior to talking to Tweedy I was trying to think of how to describe the album. There are a couple of upbeat songs, but it sounds very reflective. Is that the right description?

“If he comes at it with a solid idea of what he wants to do, it’s the first option for sure, but in a lot of cases he defers to me, and actually I think he enjoys me expressing some vision of what I want from him. I think that’s a little bit of a relief for him sometimes. So, I try and give him direction that can be interpreted, not necessarily executed. I don’t say ‘Play a guitar solo like Tom Verlaine’ - everybody kind of knows what that is. But if you say, ‘I don’t feel like the guy playing the guitar has had a bad enough day’ that’s open to interpretation and requires some imagination.

“I think you can call it whatever you want, as far as I’m concerned,” says Tweedy. “I think it’s hard to write songs by yourself without having a certain amount of reflection, and the songs are generally written that way and then expressed through a band. So, they feel less reflective to me in that regard compared to when I play them by myself or the solo material I’ve done recently. I don’t know if I know exactly what that means.

If it means you reflect the world or reflect yourself, I guess it means introspection of some sort. I think that’s what you’re supposed to do. You’re supposed to examine yourself.”

That sounds like something Captain Beefheart might have said.

After the activity of the past few years Jeff Tweedy might get a chance to relax

in late January Wilco’s Blue Sky Festival at the Hard Rock Hotel in Riviera May in Mexico. They are curating a four-day festival that also stars Courtney Barnett, Kamasi Washington, Calexico, Yola Tengo, a Tweedy solo show and Wilco’s Pat Sansone John Stiratt’s band Autumn Defense.

“I think you should,” says Tweedy when I ask if I should go. “I don’t think you can go wrong. At the very least you’re in a beautiful place. I think it’s going to be a blast. It’s a resort, so there’s a little bit of a cheese factor that we have to tolerate but I think it’s worth it.

There are a couple of warning signs there.

In my case, it’s unlimited food. For some people it might be unlimited alcohol, too.

“If that’s a problem for you then you’re doing pretty good in this world,” laughs Tweedy.

Ode To Joy is out now on dBpm Records.

43

IMPOSSIBLE DREAM

Nels Cline has helped Wilco transcend the seemingly impossible.

By Martin Jones

It’s fitting that I catch up with Nels Cline while he’s on tour in Germany. ‘Impossible Germany’ was the song that introduced many Wilco fans to Cline’s guitar prowess and has become his signature song in the band. He calls it: ‘my blessing and my burden.”

I’ll never forget hearing the song for the first time on their Australian tour just before the album Sky Blue Sky was released. It was early in the set and as the extended guitar workout bloomed you could hear jaws hitting the ground.

44

“Oh geez I mean I don’t really look at the audience, I’ll be honest, so I don’t see any draws dropping,” Cline responds when I recall that experience. “But it’s funny you mention this because when we first started playing it out I don’t think anybody had any idea that there would be any kind of particular focus on that song. So, we played it in Spain and people went berserk and we didn’t know that was the song that was being played [by the media], that had been singled out. And once again it’s interesting that you mention this because that was

early in the set. We weren’t thinking about it as a feature number in any way.”

When I speak with Cline, the band is midEuropean tour and weeks before the release of their 11th studio album Ode to Joy. Which means the lanky guitar guru has now featured on over half of the band’s extensive catalogue. He was recruited to help the band perform the ambitious guitar work of 2004’s Jim O’ Rourke produced A Ghost is Born album on stage. His contributions to subsequent album, Sky Blue Sky were revelatory.

“Well. Ah god, I don’t know…” Cline responds when asked to consider how his role in the band has evolved over the past fifteen years. “I think that Jeff initially… I think it was [drummer] Glenn [Kotche]’s idea to suggest me to Jeff but he was playing so much good guitar on A Ghost is Born that when Jeff approached me I said, ‘Jeff what am I gonna do? You’re doing all this great guitar work. This is the first time you’ve really stepped out on guitar. Your time is now!’ And so, I think my role, I don’t know at first I thought it was to be the wild card. The guy who can play songs and can play some different instruments and some lap steel but can also do some unpredictable things. But I think my role is the same in a lot of ways, the only thing that’s not the same is what we do when we make records because Jeff doesn’t often repeat himself. So, I never know what the approach is gonna be.

“When I joined the band everything was done… like Sky Blue Sky was practically all done live, all with amps in a circle. The demos were done on tape. The next record was completely on computer, overdub as much as you want. And this [new] record certainly has a different sonic signature to any other Wilco record and Jeff’s not singing with a full voice on most of the record. So, my constant adage is to just try to come up with something that the song wants and Jeff gives a lot of direction. I’ll talk out whatever idea I have, but sometimes I just don’t know what to do because I think in a classicist kind of way quite often and Jeff will have to listen to me play a really nice guitar part and then sometimes have to extract something much more unique from me. Which he’ll do very kindly. And I don’t always know what he’s getting at and what he wants but he’ll eventually get it out of me.”

Speak to any of the Wilco members (besides, perhaps, Tweedy himself) and you’ll quickly uncover a benign dictatorship with Tweedy steering the ship.

A case in point is Cline’s recollection of how the ‘Impossible Germany’ arrangement evolved.

“Interestingly the very beginning statement was on the original demo that we did of [‘Impossible Germany’] and Jeff really liked it and asked me to relearn it essentially. He asked me very politely. And I think that says a lot about Jeff’s sensibility and how when he hears something that he likes I think he may think in the back of his mind that other people will respond to it. Because Jeff is somebody very respected and successful for being a real deal kind of songwriter.

Well, he’s not a hitmaker. He’s an artist. But he’s successful because he communicates and people relate to him. When I joined the

band and all these people are singing along with these songs I thought, ‘How can all these people sing along? I don’t even know what this song is about. It’s more poetry.’

And I think in an instrumental sense the same thing may have been true in that him hearing of my solo on the demo and thinking other people may respond to it in the same way he was right in a way that nobody could have predicted.’

I point out that Jeff paid tribute to the song’s title by recently accomplishing the seemingly impossible task of performing the song solo on completely unplugged parlour guitar, incorporating significant elements of Cline’s guitar parts.

“Well yeah, those guitar parts were things that I brought to it. That song was written before Sky Blue Sky and then we demoed it again and my idea for the song was to have a long instrumental coda that was completely worked out guitar melodies between me and Jeff. And then I showed him a couple of the melodies and Pat picked up his guitar, and Pat hadn’t played guitar in the band yet, and they worked on dissecting the two melodies for about two hours. And that’s the arrangement that you’re hearing and I would have no idea what to do but the whole point would be there would be no guitar solo. And then Jeff said, ‘What do you think?’ And I said, ‘Well what do I do?’ ‘You solo!’ [laughs]. So, he does know some of those licks.”

Finally getting around to the new album, Ode to Joy is nothing like Sky Blue Sky. It is not an everyone in the room live recording and Cline’s contributions are relatively understated. It’s a considered, sparse, but astonishingly intricate studio recording that adheres to a preconceived sonic theme.

“Well. I think there’s no doubt that Jeff’s steering the ship,” Cline replies when asked to look back on what kind of album Wilco has made in Ode to Joy. “We’re basically taking cues from him. He’s not in any way super controlling or harsh, but he’ll get out of it what he wants ultimately, one way or another (laughs). And these days with the computer we can just throw as many ideas at a song as we want and he and [engineer] Tom Schick can just sit there when they mix and keep the things they find the most appropriate or the most novel or that make the song resonates the way Jeff wants it to.

“I think the percussion on the new record, for example, was something that was very scrupulously imagined…. It’s not rock and roll drumming. It’s not even rock and roll type grooves, and there’s hardly any cymbals on the record. And Jeff and [drummer] Glenn [Kotche] worked on that in advance of the sessions, not only because Jeff had this idea about how he wanted the record to sound and feel but also at this point Glenn is the only band member besides Jeff who still lives in Chicago.

So, they got together the week ahead of the rest of us and demoed up some stuff and gave us a good sense of where we were going.”

Ode to Joy is a record that kind of sounds like it was recorded underwater. Everything is a little muffled, with Kotche’s percussion providing a constant pulse. It’s a pretty dense aesthetic to penetrate, even for a dedicated Wilco fan.

Tweedy himself has called the songs’ structures “brutal”.

“I think that might be a statement about the percussion once again,” Cline interprets Tweedy’s description. “I mean you listen to the percussion track of the opening song ‘Bright Leaves’, I mean that percussion sounds like somebody being flogged or something. Or it has maybe a ritual kind of intensity. It’s not a rock beat, it’s really primitive. And he wanted it to be extremely powerful, maybe overwhelmingly so, while he’s sort of mumbling the song. I think that’s what he meant by that.

“I mean everything we do, I guess… I mean I never know exactly what we’re going to do when we start making records, but Jeff is a guy who doesn’t like to repeat himself too much, if ever, so that’s half the fun.”

Ode to Joy is available on dBpm. 45

“Tragically when we lost Lou a few years back, I knew I had to get him on my next record,” explains Nils Lofgren when I ask him why he decided to use the remaining songs from his writing session with Lou Reed all those year ago and release Blue With Lou.

e

an Wis

By Bri

Nils Lofgren co-wrote with Lou Reed back in the late ‘70s and uses some of the songs for his latest studio album Blue With Lou.

“I also wanted to redo ‘City Lights’, which was a beautiful story he wrote about Charlie Chaplin. He actually said he loved my chorus and he wanted to keep it, but he wrote a story about the Charlie Chaplin saga in the U.S. and it was a brilliant song. Lou narrated it on The Bells and I always wanted to do a version with the original melody, which I got on the record.”

Lofgren says that he aimed to get six songs from the writing session onto an album, supplemented them with his own songs and whittled it down from a list of twenty and then waited until he could play and sing them live in the studio before getting his band together to record.

“So, by the time we were ready to record, it was kind of a joy,” explains Lofgren. “We banned the click track. There were no drum machines or click tracks and he just counted it off and we played. It was a very old school approach and came out beautifully. I didn’t add a lot to it to keep true to what we did as a trio. I wanted that to feel through the music as you heard it. I was really proud of and got these six Lou Reed songs there and I am very happy with it.”

One of the guests on the album is Branford Marsalis (on ‘City Lights’), appropriate given that Lofgren played on Branford’s excellent Buckshot LeFonque album back in 1994.

Apart from touring with his own band for the first time in decades Nils also spent part of this year recording and gigging with Neil Young and Crazy Horse! We continue the story……

46

“We had become good friends on the Amnesty International tour,” recalls Lofgren, “which was extraordinary six-week tour all over the planet. We played a lot of basketball everywhere. Branford and I hung out and we stayed in touch and remained friends. He’s one of my favourite players and he actually played on the Damaged Goods record [1995].

It took me quite a while to find a groove [on ‘City Lights’] where the song had a lilt to it.

Then I looked at it and went, ‘Man, I just don’t have the heart to overdub a guitar on this. Let me see if Branford will play sax on it - and he played beautifully and just coloured it so well.

“It’s a haunted story about Charlie Chaplin and it’s just not unlike what’s happening now on the planet. We just keep shooting ourselves in the foot. Mostly it’s the billionaires in the power class that get mad with money and power at the expense of life itself. It’s kind of a tragic story: this gifted comedian becomes way more than a comedian. We’re getting through a depression and surviving it and he brings laughter and humour to our entire country. Then we turn around and throw him out - which just speaks to the madness of the ruling classes throughout history in general.

They seem to lose their minds and common sense in pursuit of power and money.”

There is also a reference in the song ‘Talk Through The Tears’ to Charlie Chaplin’s own composition, ‘Smile.’

“That was one of the more touching things I’d ever heard Lou do,” says Lofgren, “and I was so taken by it - and it was one of the ones that got left behind. I was playing keyboards and I had a pedal to fade in some string sounds just to open it up a bit and we were putting the track together and we had a deep groove for it. Then it was Kevin McCormick [guitarist] really who said, ‘Nils, do you mind trying something? Why don’t you just sing the first couple of lines alone and then Andy [Newmark] will kick us in and you can repeat them in the verse. We tried it and it was beautiful and that was a great arrangement change.”

If there were singles released these days to radio then the hit on the album would surely be ‘Don’t Let Your Guard Down’, which is a great rocker and has a classic Nils Lofgren riff.

“It was awful. I mean it was just stunning.

I couldn’t believe it,” adds Lofgren about Petty’s death. “Because now more than ever with the trauma the whole planet’s going through you turn to people like Prince or Tom Petty, as heroes of music to keep sharing and inspiring us.

“Music, to me, I consider it the planet’s sacred weapon that is literally healing billions of people daily. I discovered it at a young age at five studying accordion - but it’s truly the planet’s sacred weapon. People like Tom and Prince and all the greats that we’ve lost are the caretakers of taking a gift they’ve been given and really exploiting it on our emotional behalf and getting whatever inspiration comes through them out in a record form so that we can enjoy it and listen to it and be inspired by it.

a nod to Lou and what he’d meant to me. I didn’t know it was going to be the title of the “It’s just stunning, you know, when you lose album, at the time, but I knew it was going “We tracked it live as a trio,” explains Nils, someone like Tom or Prince to be a song on the record and “and I never envisioned much else on it other it all started there in Australia.

“One night I saw and all the other greats that than that duet with Cindy Mizelle. There were So, I’m really happy about the Blues Magoos, have gone, but especially at a no overdub guitars on that. That was just as it younger age, really at the peak that.” got tracked down. The lyric speaks for itself.

Herman’s Hermits of his abilities out doing this It’s kind of ominous, ‘Hey, keep your eyes Blue With Lou also includes a great tour with his band. and The Who, like open and be aware of your surroundings at all tribute to Tom Petty on ‘Dear times.’ I just thought it was so cool that Lou Heartbreaker,’ which Lofgren this was maybe “So, anyway, what do you do, used that Mohammed Ali reference, telling hadn’t planned on writing until ’67, and then we all man? It hurts and you live with it and deal with it and move on. people, ‘You can make a lot of yourself, but the terrible news of Petty’s ran over for a Jimi But the music stands and will you’ve got to pay attention, keep your eyes passing. always be there. But, certainly, open, because there’s a lot of craziness “One day on the last Tom Petty Hendrix Experience it would have been much around. It was just one of my favourites. I tour, me and Amy [his partner] late show at the better for me and Amy and the don’t know why it got left behind, but it did treated ourselves to their show planet if he’d stuck around and Ambassador….” and was grateful to get that at Red Rocks kept making music.” out.”

“I owe really that to in Denver,” I mention to Lofgren that Petty was suffering Lofgren recalls that it was recalls Lofgren. “We went up from the pain of a fractured hip and that Nils during the last Australian tour them. I owe a lot to there and saw a spectacular had gone through the same sort of thing due with Bruce Springsteen & The both of those guys. show. I’d really never been to to the beating his body took from jumping on E Street Band that he really Neil Young, David Red Rocks, which is surprising, a trampoline as part of his stage show. decided to challenge himself but had a visit with the band.

Briggs - probably It never occurred to me and “Well, actually, ten years ago now I had to begin writing in earnest. both of my hips replaced at the same time, my greatest Amy it’d be the last time we’d “I started working on the Lou and that was a huge thing,” he explains. “It see them.” songs first because I felt that mentors….” was quite a big deal but they’ve healed up would kind of jumpstart my “We were very angry and still fine. I’ve stopped abusing them with crazy writing,” he says. “So, fortunately, I have my are a bit,” he continues. “We’d speak almost basketball, which I played all the time, and old notebooks that I meticulously took the daily after Tom passed about how enraged we the trampoline where I do these ridiculous dictation from Lou in. I brought them on that were that we lost him and their future legacy flips while I’m playing guitar. That went in the Australian run, and I started chipping away at as a band and we still speak of it. It’s just such closet and I’ve been much more careful.” the Lou songs and that kind of led me into my an awful thing. So, one day, I was just giving Of course, in 1975 Nils, sang ‘Keith Don’t own writing and getting me more inspired.” myself a little pep talk to keep listening and Go (Ode To A Glimmer twin)’ about Keith [Australia, take a bow!] enjoying the music despite how upset I was Richards on his self-titled about it and I wrote a little “I was just feeling a little bit blue, just getting debut solo album. Who would verse that was really almost “I owe really that have thought that Richards older,” he adds, “looking at the planet and all just kind of a note to self in a to them. I owe the problems we had. I just felt like, ‘Man, you would still be with us? message out there in the ether got to start working on a record in earnest. a lot to both of “Yeah, you know Keith’s out to Tom Petty wherever he is.

Another year and a half down the road I was there sharing his gifts,” laughs those guys.

Neil ready to play and sing twenty songs live in the “I know his spirit’s around, Nils. “Mick got through heart studio.

Young, David hopefully in a beautiful surgery. God bless them, heaven, looking down on us. Briggs - probably man. I just started watching “I like to show up a couple hours ahead of the I just encouraged myself to the documentary Under the band and Bruce to have time to myself and my greatest keep listening to the music, Influence and Keith certainly work on my guitars, my effects, whatever…… mentors….” enjoying it despite the remains one of my all-time homework. I’m kind of a self-taught heartbreak of that loss. All of a heroes. You know, it was bottleneck player, still a beginner, but I was sudden, I had five verses and I went, ‘Man this thanks to the Beatles and Stones and Hendrix working on this bottleneck riff on my [Fender] may have to be a song on the record’ because and that whole explosion of music in the Jazzmaster and I just felt like, ‘Man, this’ll be it wasn’t my intent but it just happened.

‘60s that I got off the classical accordion and a good song someday.’ Then one day, I just Sometimes those are the better songs.” picked up the guitar. >>> started singing ‘Blue with Lou,’ just kind of 47

>>> Nobody in the mid-sixties thought you could do that for a living.

“But one night I saw the Blues Magoos, Herman’s Hermits and The Who, like this was maybe ‘67 at Constitution Hall in Washington DC, and then we all ran over for a Jimi Hendrix Experience late show at the Ambassador Theater. Townsend came over, he was in the audience and when I walked out of there after seeing those bands, in particular The Who and Hendrix, I walked out possessed with the notion of trying to be a lot musician. It never occurred to me ‘til that night. It just never occurred to me.”

Finally, we have to talk about Nils playing once more with Neil Young & Crazy Horse last February in Canada, after playing five shows with them in California in 2018. Back in 1970 Nils played guitar and piano and added backing vocals on After The Goldrush, having met him a year earlier.

“Neil said, ‘Hey, I’d like you to play a couple of Crazy Horse shows in Winnipeg’ (the town that he moved to very young and had enormous history in and kind of a homecoming for him).

It was during a terrible winter. I went off to South Dakota and Ralphie the drummer and I hooked up with Billy at his home in South 48

it was a 10-hour drive - and hung out with me a few days, came back and picked me up ten days later.

“We started working on a new record of great songs that Neil had written. Again, just kind of a very surprise chapter that came out of the blue and we’re well into a great record.

Of course, it’s up to Neil how that goes.

But we certainly started working on a great record with him and that was really a treat after doing those seven shows in the last year, getting back to recording new music in the studio, which I’ve been lucky to have opportunities to do quite a few times with him and Ralphie and Billy.” [Colorado by Neil Young & Crazy Horse is out now via Reprise].

I remind Nils that it’s almost 50 years since After the Gold Rush was released.

“I was 18 years old and just out of the blue, David Briggs and Neil asked me to make that record which was extraordinary,” he recalls. “Again, I was not a professional piano player and they kind of pushed me into that thinking because of my accordion days. I studied accordion from age five to 14 almost 10 years of lessons, mostly classical. They encouraged me that I would be able to come up with some simple parts. They had faith in me that I didn’t. That led to my first piano sessions on After The Gold Rush. After that David asked me to keep writing on piano and playing it more and more in my band Grin and my solo records. It just became another tool because I really hadn’t considered myself a professional piano player. But that album kinda kicked that chapter off for me. I still use it to this day and, every show - whether it’s acoustic or with a band - I’ll sit at the piano for twenty minutes and sing a few numbers.

I owe really that to them. I owe a lot to both of those guys. Neil Young, David Briggs Dakota in the middle of nowhere in the plains probably my greatest mentors of many, at a and we just jammed together the three of us young age in particular.” for about four days. Then we got on a 12-hour bus trip to Winnipeg.

Any chance of Lofgren bringing his band to Australia? The time would seem to be right at “We got there and did two great shows with the moment.

Neil and, of course, we played two nights in a row in two different places, which was a “I’ve had trouble even getting over there as trip, and had a ball. One of the great things. a solo artist,” puzzles Lofgren. “I just haven’t Neil said to us, ‘You know, guys, I don’t even really had any great input from promoters feel like writing a set list. Why don’t we just there and I would like to get there and play. walk out and play whatever comes to mind?’

Right now, after this month at home and I thought that was just a beautiful example of the unexpected work with Neil and Crazy what that band is and can do.”

Horse and recording, I’m just of laying low for now “And it was fifty years ago that I “Music, to me, kind and just kind of catching my walked in on them at The Cellar I consider it the breath. In theory, it’d be a good Door in Washington DC and to come to Australia, we’ve been friends ever since, planet’s sacred time go to Europe, keep playing, had a lot of chapters together weapon that is promoting the record. So yes, and it was quite beautiful to play literally healing it’s a grand idea, but getting the live again. Just before I went into rehearsals [for my album] billions of people full band and equipment and the crew all the way to Australia Neil called out of the blue and daily….” is not something I’ve figured said, ‘Man, I’ve been writing all out yet. But it’s certainly a great these songs. I’ve got, a like an idea and I’m certainly open to it if I can make album of Crazy Horse songs. I know you got a it happen at some point.” record coming out and a tour coming up. Any chance you can get up to Colorado for ten or Blue With Lou is available now on Cattle eleven days of recording?’ Amy drove me up Track Road Records and iTunes.

THE RESURRECTION OF With the support of Brandi Carlile and Shooter Jennings the legendary singer returned to the studio after 15 years.

TANYA TUCKER

By Megan Gnad When country legend Tanya Tucker joined Brandi Carlile on stage at the 2019 CMT Music Awards recently - supported by a starstudded group of female country artists - it was a moment to be celebrated.

The performance coincided with the launch of her highly-anticipated new album, While I’m Livin’ – produced by Carlile and Shooter Jennings – which marks the release of her first new material since 2002’s Tanya.

Described as a “musical biography”, it compiles stories of her childhood in central Texas, personal memories, reflections and well-chosen, iconic covers.

The Delta Dawn hitmaker’s return to the recording studio happened by chance, when she bumped into Jennings.

“I’d been working on several other projects, but the last few years I’ve been back on the road and everyone was wanting new music,” Tucker tells Rhythms Magazine.

“I ran into Shooter Jennings who mentioned he’d love to do an album with me. I knew Shooter before he was Shooter, I call him Little Waylon.

“Brandi Carlile was involved and we ended up going into the studio for three weeks in January. This album, we did it like I did my first records, recorded live. There were no overdubs, and then of course, the ultimate cool thing for me was the song I had in my head for 30 to 40 years, Brandi and Shooter finished it. It ended up being the title track of the album.”

While I’m Livin’ is largely comprised of songs written by Carlile, twins Tim and Phil Hanseroth, and Tucker. It also features High Ridin’ Heroes, a 1987 song Jennings selected that featured David Lynn Jones and his dad, Waylon Jennings; as well as The House That Built Me, a track made famous by Miranda Lambert.

“High Ridin’ Heroes is a song I wanted to do for a long time,” says the original female outlaw.

“Waylon was on that, he was on that record, so Little Waylon was there when I recorded that song and he actually played the piano on that one. The songs are all special. The House That Built Me has become special to me, the lyrics are special as a mama.

And, Seminole Wind, that’s where I’m from, Seminole, Texas.

“I can’t imagine Waylon not looking down and smiling.”

A key part of pulling the whole project together was the input of gifted singersongwriter Brandi Carlile, who researched and co-wrote the majority of the 10 tracks.

While the pair didn’t meet until the day Tucker came to the studio to record, they’ve since become close friends.

“The Twins and Brandi researched me and my life, where I’d lived, and wrote these songs. It’s still amazing to me that someone could do that. They did a great job and I’m very, very happy with the way it turned out.

“I’m extremely elated that I have some really great friends I’ve developed; Brandi’s my new best friend, and I love the twins to bits.”

It was also Carlile who made possible their incredible performance at the 2019 CMT Music Awards, in June, when Tucker joined her on stage alongside, Jennings, RaeLynn, Lauren Alaina, Martina McBride, Trisha Yearwood, Deana Carter and Carly Pearce.

“That was all Brandi right there. She gave up her spot for me on that show. She got everyone together, all I did was walk up there and sing…the response was amazing.”

Tucker’s achievements include 23 Top 40 albums and 56 Top 40 singles, 10 of which reached the #1 spot on the Billboard country charts. Since her Delta Dawn debut at the age of 13, she produced some of country music’s biggest hits such as Two Sparrows in a Hurricane, It’s a Little Too Late, and Trouble, but she says it’s good to be back creating new material.

“I never thought about not making more music. It should have happened a lot sooner, but a lot of things happened.

“I’ve been looking through pictures for The House That Built Me video lately, and it brings back a lot of memories. A lot of wonderful memories.”

WHILE I’M LIVIN’ is available now.

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PART 1 ... By Stuart Coupe

Just over four decades ago Donald Robertson and friends published the influential rock magazine Roadrunner which lasted five years and 48 issues. Now a massive book collects some of its writing.

Donald Roberston

A

little over 40 years ago (December 1977 to be more precise) in Adelaide, Donald Robertson and I, along with a motley assemblage of helpers, published one issue of a punk rock fanzine called Street Fever.

After that experience Robertson and I got chatting about the idea of starting something more magazine orientated. A team was assembled, and the first issue of Roadrunner was published early in 1978. A ‘60s photo of The Beach Boys (touring Australia at the time) adorned the front and the lines on the cover also promised coverage of Dylan and ‘N.Gunston’.

A few years ago all the issues of Roadrunner were digitalised and made available online via the University Of Wollongong (http://ro.uow. edu.au/roadrunner/) but for those who want something more old school Robertson has now assembled a magnificent 500 + page hardcover book distillation of the 48 issues of the magazine.

The result is a magnificent, as it happened, look at rock’n’roll music in Australia in the years 1978 – 1983.

After five issues of the magazine I decamped to Sydney to write for the opposition (aka RAM) whilst still contributing pieces to Roadrunner.

50

PART 1 ... By Stuart Coupe Robertson remained at the helm right through the magazine’s history.

If you’re not familiar with Roadrunner I suggested to Robertson recently that it was a magazine that emerged out of a love of the fanzine culture and the at the time influential and successful New Musical Express.

“That’s pretty close to the mark,” he agreed. “I’d come back from the UK and was devouring the NME every week – as well as Sounds and Melody Maker. But NME was the flag bearer for punk and what morphed pretty quickly into new wave.

“I was talking to Phil Calvert (drummer from the Boys Next Door/Birthday Party) the other day and he said that of all the Australian magazines Roadrunner was the most like the NME. “We were very British orientated. Well, certainly my taste was very British orientated whereas yours and some of the others were more American influenced. I’d just spent two and a half years in the UK whilst punk was happening. It was almost like the empire strikes back against the LA/West Coast laid back smoothness of The Eagles and their ilk.

“Not that I dismissed all that completely but there was this sense that Britain had taken things like The Ramones and Television and those sorts of bands and done their own version of it. Just like the Beatles and Stones did in the 1960s with American R & B.” At the time when Roadrunner started the dominant Australian music magazines were Rock Australia Magazine (RAM) in Sydney and Juke from Melbourne. Rolling Stone’s Australian franchise was yet to get heavily involved with including Australian content in their reprints of the American edition.

Robertson certainly saw Roadrunner as being in competition with Ram and Juke but knew it was a tough battle as both had significant

infrastructure, financial backing and a strong foothold in the marketplace.

Roadrunner set itself apart in a few significant ways – most importantly in the policy of only publishing original material and not padding out or filling issues with material syndicated from overseas publications.

Even when English writers such as Chris Salewicz contributed to the magazine

Blondie

as he did with stories on the likes of The Clash, Malcolm McLaren and Kim Wilde) he always wrote them especially for Roadrunner and didn’t simply hand off material already published in the UK “People loved the fact that they could pick up the magazine and know that they were not going to be reading stuff that they’d already read in NME,” Robertson says.

Also significant was Roadrunner being based in Adelaide. It was at the time a cheap city to both live in and produce a magazine from.

Geographically it gave Robertson the ability to look at what was going on in both Sydney and Melbourne from an outsider’s perspective. And often significant Australian artists and international tourists were more accessible in Adelaide than they were in the larger cities.

Thanks to the 5MMM radio station, an increase in live venues and of course the presence of Roadrunner, there was a revived music scene in Adelaide that the magazine both nurtured and reported on.

Roadrunner lasted for 48 issues. Of those 47 were produced in Adelaide and the last in Sydney.

“We were going down the financial gurgler in Adelaide,” he says.

The magazine was having trouble staying afloat in Adelaide and some financial backing was offered in Sydney so Robertson headed in that direction. With some new people around him, a broader content, colour pages and a little influence from The Face, the final issue sold particularly well.

Then, when it came time for what would have been issue 49 at the beginning of 1983 there was absolutely no financial advertising support.

“It felt like Australia was about to hit a recession, and the economic indicators weren’t great – so we hit a complete brick wall, and that was it.”

Robertson moved on to edit Countdown magazine, leaving a legacy of 48 issues of a magazine that superbly captured a time and place in Australian and global music.

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PART 2 ... By Donald Robertson

ROADRUNNER MARCH 1978

ROADRUNNER DECEMBER 1978

Extract from ‘The Big Beat: Rock music in Australia 1978-1983, through the pages of Roadrunner magazine’ 1978 - ’One More Boring Night in Adelaide’ When I returned to Adelaide in late 1977 after two-and-a-half years in the UK, I came back with 25 singles—Sex Pistols, The Clash, The Damned, Elvis Costello, Wreckless Eric, Tom Robinson Band, X-Ray Spex, The Rezillos, Slaughter & the Dogs etc.

I moved into a small cottage in Norwood, owned by my old Adelaide Uni friends Larry Buttrose and Donna Maegraith, and proceeded to visit all my other mates in an evangelical way—to convert them to this fantastic new music. Most looked at me rather strangely and asked if I’d like another cup of tea, but Span, an old friend from Whyalla, introduced me to Stuart Coupe.

Coupe was editor of the Flinders University student newspaper, Empire Times. We got talking and quickly realised we shared this zeal about the punk/new wave explosion. We used to frequent the go-to import shop of the day—Modern Love Songs in Twin Street—and with the encouragement of 52

ROADRUNNER FEBRUARY 1979

the owner, Bo and help from the crowd that hung around there, we decided to channel the prevailing do-it-yourself ethos and put together a fanzine.

As well as enjoying blanket coverage in the British rock weeklies like New Musical Express, Sounds and Melody Maker, the punk explosion had inspired a flush of fanzines. The first and most famous was Londoner Mark P’s Sniffin’ Glue (+ Other Rock’n’Roll Habits for Punks), which launched in July 1976 and spawned a rash of imitators.

The day after the December 1977 federal election that returned Malcolm Fraser’s conservative coalition to government, a motley (and hung-over) crew assembled at Modern Love Songs to put together the fanzine, armed with typed contributions, photos, and magazines to cut up and paste. On the credits page we namechecked the other Australian ‘zines we were aware of—Suicide Alley (Brisbane), Pulp (Melbourne), Alive and Kicking (Melbourne) and Spurt (Sydney).

We laid out the magazine on the floor of the basement record shop and Stuart got it printed at Empire Times. Bo said he’d pay the print bill in exchange for a full-page ad. The bill was never paid. Very punk. The fanzine was called Street Fever.

Coupe and I enjoyed the exercise, so we started talking about ‘What if we started a magazine?’ At that time there was a booking agency in Adelaide called Sphere, managed by Chris Plimmer, who later became prominent in Sydney with the Nucleus agency. He thought

PART 2 ... By Donald Robertson

ROADRUNNER 2ND BIRTHDAY it was a great idea to have an Adelaide music magazine. We agreed to include a gig guide and Plimmer persuaded music venues, shops and bands to buy ads, so we’d get some money coming in.

We did the rounds of the major record companies in Adelaide, which were generally enthusiastic—particularly Phonogram which had albums from The Ramones, Talking Heads, and Richard Hell and The Voidoids, and really didn’t know what to do with them!

We needed a name. One of the singles I’d brought back from the UK was ‘Roadrunner’, an unlikely 1977 hit there for Jonathan Richman. A hymn to the power and magic of rock’n’roll, I thought the name was a contender. Coupe obviously liked it too—in Street Fever he had waxed lyrical: ‘… one of the greatest singles EVER—a song about cruising with the radio on and being in electric communion with the modern world, modern girls and modern rock’n’roll.’

One lunchtime in the Adelaide Uni refectory, I suggested we call the magazine Roadrunner. Coupe pondered only for a second. ‘Yeah—that’s great!’

Coupe was living in a share house in Torrensville with Alex Ehlert and Mark Burford. He also knew a slightly dotty layout artist at Flinders called Allan Coop (no relation). So, with no capital and no assets, but bucketloads of energy and enthusiasm, Roadrunner was born.

For the first issue in March 1978, the crew was Coupe and myself as editors, Allan Coop on layout and design, Alex Ehlert leading the Construction team,

Mark Burford as reviews editor and Chris Plimmer as advertising manager.

Larry Buttrose got in touch with his sixties surfing memories for the cover story on The Beach Boys. As well as writing articles and reviews, Jillian Burt smuggled us into 5UV to use their IBM Selectric, or ‘golf ball’ typewriter for the copy. This enabled us to set columns of justified type and get different type fonts and sizes.

Coop did the layout in a shed out the back of the house in Torrensville, Empire Times did the printing and on Sunday, 12 March, a few of us trekked out to Football Park at West Lakes to try selling copies before The Beach Boys’ concert.

Not many were interested, even at a price of just 30 cents, but we weren’t discouraged.

Coupe enlisted some other contributors.

John Altree-Williams took some great photos of the Suicide Records bands and started helping with the layout. Coupe

was also in touch with Bruce Milne and Clinton Walker, who had published the fanzine Pulp in Melbourne, and they thought what we were doing was interesting so came over to help.

The News, Adelaide’s afternoon paper, ran a snippet on 11 May 1978.

Adelaide’s own music mag, Roadrunner, looks like being around for a while. The second issue is out and costs 30c from newsagents and record stores. The typos and spelling mistakes are a bit hard on the eyes, but buy it for the interesting “let it all hang out” interview with Molly Meldrum. Also in the issue are stories on Quasar, Clean Cut, Chick Corea, Ry Cooder and the Resident [sic], and Steve Whitham starts a regular “Hi, I’m your local friendly DJ” column.

The content in the early issues was an idiosyncratic mix of the local (Young Modern, Riff Raff, Neon Heart, The

Sultan Brothers, The Warm Jets, Cunning Stunt, Middle Class); interstate new wavers (The Sports, High Rise Bombers, Boys Next Door, Stiletto); international tourists (Dylan, Weather Report, John Martyn, Graham Parker and The Rumour, Billy Connolly); retrospectives (The Beach Boys, The Monkees, Marc Bolan); think pieces (The Death of Punk, Powerpop); and stories about the music industry (the above-mentioned interview with Countdown’s Ian ‘Molly’ Meldrum, 5KA’s David Day, the birth of community radio station 5MMM, how to be a rock writer). All this plus live reports, album and singles reviews, and an Adelaide gig guide. Advertising came from the bands, venues, record shops and equipment suppliers of the Adelaide scene plus record companies (EMI, CBS, Festival and Phonogram), television and radio stations (Seven, Nine and 5UV), and a couple of corporate entities—the State Bank of South Australia and Coke. >>>

Midnight Oil 53

PART 2 ... By Stuart Coupe >>> In 1978, Roadrunner was available only in South Australia. Record shops and musical hire outlets sold it off the counter and B. J. & K. L. Fuller distributed to SA newsagents. Coupe drew on his Empire Times experience, I’d dabbled in poetry magazines while at uni, Bruce Milne and Clinton Walker had produced their fanzines, but none of us had any real experience in the business of magazine publishing. We all just loved the music and liked writing about it, and photographers such as Eric Algra and Joe Murray approached us and offered photos.

Things went well for the first three issues and I guess we were starting to get a bit full of ourselves. A self-righteous editorial manifesto by Coupe in Issue 4, July 1978 provoked Rock Australia Magazine editor Anthony O’Grady to a response. ‘Dear Roadrunner,’ he wrote, ‘Thanx for at least for spelling RAM’s name right in your July edition. And that’s all I’m thanking you for.’

Uh oh.

O’Grady asked us to consider two quotes.

conservation we at RAM have been assiduously including (average over one-and-a-half editorial pages per issue) for the past three years?

O’Grady offered Coupe a staff position on RAM in Sydney a month later.

As the year wound down, we convened a summit meeting in Torrensville.

Coupe had gone. Clinton Walker was back in Melbourne, but still involved as Melbourne editor. The live scene in Adelaide at the time was still pretty

PART 2 ... By Stuart Coupe much stuck in blues and boogie mode, and the recording scene was almost non-existent, so it was no surprise that Bruce Milne had also decided to return to Melbourne. The novelty having worn off, Alex Ehlert and Allan Coop decided, nicely, to take their bat and ball and play elsewhere. So, it was only me left standing. Collette Snowden, who had been writing for the mag under the nom de plume Sue Denim, attended the meeting and was a strong supporter for continuing.

I decided to carry on. I didn’t think the magazine had reached anywhere near its potential and it was certainly more fun than my day job. * * * * * * Michael Zerman was production editor on another new Adelaide magazine, Preview, and had already steered us in the direction of Preview’s printer, Bridge Press in Murray Bridge, an hour out of Adelaide on the South Eastern Freeway.

Bridge Press was cheaper than anyone in Adelaide and was keen for the extra

work. It ended up printing the magazine for virtually the remainder of its life (September 1978 right through to July 1982). It doesn’t matter if you run up a debt with your printer, Zerman confided —it gives them an interest in keeping you going. And so it proved.

A more professional production set-up was an immediate priority. Clive Dorman was a newspaper journalist who had seen the potential of phototypesetting. He set up his own business, Neighbourhood Typesetting, and became Roadrunner’s

production editor. Geoffrey Gifford, who ran a small design studio, took over design and layout, and Collette Snowden joined as office manager.

As the new production crew moved in, it was becoming clear that there was a growing disconnect between the type of music we wanted to write about and the Adelaide music scene that had initially supported the magazine. The solution?

National—and international—coverage and national distribution. >>>

‘Roadrunner seeks to be a Pop/ Popular CULTURE magazine as opposed to a Pop MUSIC magazine.

Future issues will focus on books, movies, rock’n’roll theory …’ (Quote 1, Roadrunner, July 1978).

‘We also know our rock’n’roll generation is more a lifestyle choice and its expression is more than music.’ (Quote 2, from the editorial in RAM’s first issue, March 1975).

He then went on: Hmmm. Sounds like neither publication wants to fall into the trap expressed by Quote No. 3: ‘The major purpose and I suggest failing of these newsy rock’n’roll papers is that they serve to maintain the illusion that rock’n’roll exists independently of the forces around it.’ (Roadrunner No. 4 again.)

So, it really hurts (maaaaan) that No. 3 is how Roadrunner categories [sic] RAM in 1978.

So. Guess RAM failed the culture test.

The Roadrunner culture test anyway.

On the other hand, can it be, (el gaspo!) Roadrunner just hasn’t noticed all the youth/lifestyle articles on movies, living on the cheap, scifi, mysiticism [sic], surfing, politics, 54

Young Modern 55

PART 2 ... By Stuart Coupe >>> On the writing side, Keith Shadwick became the magazine’s first London editor. A poet, writer and saxophone player with Uncle Bob’s Band, The Bleeding Hearts and, most recently, High Rise Bombers (with Paul Kelly and Martin Armiger), Shadwick left Melbourne in mid-1978 and quickly established himself on the London scene, where the New Wave was still cresting. He contributed news, live reviews (including one about Public Image Limited’s first performance), a fond retrospective on Marc Bolan and—after embedding himself on the tour—an exhaustive behind-the-scenes account of The Sports’ early 1979 twirl around the UK supporting Graham Parker and The Rumour.

Michael Hope, an old friend, sat down with Elizabeth-based punksters The Accountants for a double-page spread in the November issue. Clare Ralph ‘schlepped out to Elizabeth’ to take the photos, including a nude shot of guitarist Sid intended for the cover. But just like Janis Joplin—who was bumped from the front of Newsweek in 1969 when former President Dwight D. Eisenhower died—Sid had to step aside for the real Sid (Mr Vicious) after the Sex Pistol was charged with the murder of his girlfriend, Nancy Spungen, at New York’s Chelsea Hotel. Ross Stapleton provided the ‘inside account’ but Michael Hope was less than impressed, writing to the letters page, ‘It was sad to see a sensationalist piece of gossip on this year’s media fodder, Sid Vicious, totally invalidate the spoken understanding Roadrunner had with next year’s media fodder—our own Accountants.’

After some encouragement from Coupe, who maintained friendly relations with his comrades in the south throughout his tenure at RAM, Stuart Matchett from 2JJ signed on as Sydney editor, and Scott Matheson, then guitarist with Brisbane band The Numbers, offered to contribute stories from Queensland. Ian Henderson started writing about Perth, and with Bruce Milne and Clinton Walker in Melbourne we had all mainland states covered. We even appointed a poetry editor—Donna Maegraith. And did publish some poems. It was the seventies after all.

In December, Clive Dorman hit the road and tied up newsagent distribution in NSW through Allan Rodney Wright and Victorian distribution through Melbourne 56

Wholesale Newsagency. In SA we already had distribution through Fullers, while in Queensland, Scott Matheson, under the banner of Riptide Distribution, supplied Rocking Horse Records and other

interested record shops. Copies to White Rider Records in Perth rounded out the picture. I took a deep breath, quit my day job and took the plunge into full-time rock’n’roll publishing.

Boys Next Door

Promoted by Evans Gudinski and Associates, it was the first time there’d been so many blues artists on the one tour.

Many local musicians at the time were blues fanatics and Michael Gudinski, as well as being a shrewd record company CEO and tour promoter, was also a fan (he’d already toured Muddy Waters and his band with Chain and Matt Taylor as supports). Other international blues and R&B artists who had toured Australia previously – not necessarily through Gudinski’s company – included John Mayall, Canned Heat, Willie Dixon and the Chicago Blues All Stars, Buddy Guy and Junior Wells, Bo Diddley, Chuck Berry and B. B. King, while Sonny Terry and Brownie McGhee had already been to Australian three times. I’ve even heard mention that Josh White made it to Australia in the 1950s.

For decades in the States, the blues had only been associated with rural and working-class African-American audiences.

It was only when young, white rock musicians and fans became enamoured with the blues during the 1950s and 1960s that black musicians were able to start transcending the typical racial and social barriers of the time. This led to the rediscovery of many blues artists who’d been largely forgotten over the years.

By Ian McFarlane

Thanks to Sleepy Greg Lawrie, Adrian Anderson and Gerald McNamara On the Australian rock music touring circuit, the international package tour has been a mainstay, and guaranteed crowd puller, since the advent of rock ’n’ roll in the 1950s. You only have to consider the likes of the Lee Gordon Big Shows, where you’d get Little Richard, Gene Vincent and Eddie Cochran (1957) or Buddy Holly and the Crickets, Jerry Lee Lewis and Paul Anka (1958), with local support from Johnny O’Keefe and the Dee Jays.

The 1960s was the era of Roy Orbison, The Walker Brothers and The Yardbirds (1967), and The Who, The Small Faces and Paul Jones (1968). In 1971 you could have gone to see Deep Purple, Free and Manfred Mann, or The Giants of Jazz – Dizzy Gillespie, Thelonius Monk, Sonny Stitt and Art Blakey.

In 1973 it was Slade, Lindisfarne, Caravan and Status Quo. Moving on, there was the Legends of Rock (1989) with Chuck Berry, Jerry Lee Lewis, Bo Diddley, The Everly Brothers and Lesley Gore. The 1990s saw the advent of the enormously successful Big Day Out travelling juggernaut, with just as many local acts as the big-name international bands.

58

There are, no doubt, many more that you could remember but one lesser known event that has always intrigued me is the First Australian Blues/Rock Festival tour which took place in March 1975.

The overseas contingent consisted of Freddie King and his Band, Alexis Korner, Sonny Terry and Brownie McGhee, Hound Dog Taylor and the House Rockers and Duster Bennett with local supports Phil Manning, Renee Geyer and Sanctuary, Matt Taylor, Smokestack Lightning and Captain Matchbox Whoopee Band. The tour was sponsored by Levi’s jeans with the banner reading Levi’s Presents the Blues.

Renowned graphic designer Ian McCausland created the art for the banner and the concert handbill.

The full tour took in Brisbane (1 March), Sydney (2 March), Wollongong (3 March), Canberra (4 March), Adelaide (5 March), Perth (6 March) and Melbourne (9 March) and was described as the “biggest airlift of international talent since the days of Lee Gordon”. For the princely sum of $4.50 you got six hours of hot blues and R&B, indeed “a feast of incredible electric blues”. In between the main concerts a number of the artists did side gigs at various university campuses and small clubs.

One of the better-known blues guitar giants of the day Freddie King – “The Electrifying Texas Cannonball” – headlined the tour.

Known for his deep Texas blues and funk, he’d already released such influential examples of modern blues as ‘Hide Away’, ‘I’m Tore Down’, ‘The Welfare (Turns Its Back on You)’ and the original rendition of Don Nix’s oft-covered ‘Going Down’ (from the 1971, Leon-Russell produced album Getting Ready...). He was promoting his 1974 album Burglar.

French-born guitarist Alexis Korner – “Mr. Blues! The man responsible for The Rolling Stones and Cream” – was one of the most inspirational figures in British blues music.

He’d formed Blues Incorporated in 1961 with Cyril Davies (harmonica), with the shifting line-up over the years featuring the likes of Charlie Watts, Mick Jagger, Art Wood, Long John Baldry, Jack Bruce, Graham Bond, Ginger Baker and Paul Jones. His encouragement was crucial to a generation of aspiring musicians. In the early 1970s he formed the pop-based big band C.C.S. (Collective Consciousness Society), scoring notable hits with a version of ‘Whole Lotta Love’ and ‘The Band Played the Boogie’.

Sonny Terry and Brownie McGhee – “The world’s finest ethnic blues team” – had forged a long-term partnership since the 1940s, one of the most enduring in the blues. They proved enormously popular, having taken their folk blues to vast audiences worldwide. Sonny had been blinded as a teenager after two accidents.

He was known for his distinctive singing voice, punctuated by falsetto whoops, and harmonica playing. Brownie played acoustic guitar and had already worked with the likes of Leadbelly and Josh White, recorded his own albums and later contributed electric lead guitar to albums by Champion Jack Dupree. By all accounts the duo never really got on and finally parted ways at the end of 1975.

Hound Dog Taylor and the House Rockers – “Chicago’s greatest boogie blues band” – was a three-piece powerhouse, comprising Taylor (slide guitar), Brewer Phillips (lead guitar) and Ted Harvey (drums). Theodore ‘Hound Dog’ Taylor had played with Elmore James in Mississippi, before heading to Chicago in 1942 where he regularly played at the Maxwell Street markets. By the early 1970s he and the House Rockers had become known for high energy bottleneck guitar blues and rocking R&B. He’d push his cheap Kingston Japanese guitar through a Silvertone amp with cracked speakers which further drove the intense distortion. Blues aficionado Bruce Iglauer formed the famed Alligator Records specifically to produce and release the band’s self-titled, debut album (1971).

Duster Bennett – “The internationally acclaimed one-man band” – was a relative newcomer to the scene. He’d signed to Mike Vernon’s Blue Horizon label in 1968 and recorded his debut album backed by Peter Green and John McVie of Fleetwood Mac. His fourth album, Fingertips, and single ‘Sweet Sympathy’ came out locally on the Toadstool label to coincide with the tour.

Australian Blues Rock Festival 1975-EP front cover

Gudinski had set up Toadstool as a Mushroom budget subsidiary imprint to issue various blues records, also including Hound Dog’s Hound Dog Taylor and the House Rockers and Natural Boogie and Korner’s Get Off My Cloud, plus albums

by Flo and Eddie. The most intriguing release on Toadstool was the Levi’s Blues EP, featuring three tracks recorded live at the Melbourne Showgrounds concert

by Armstrongs’ engineer Ian McKenzie.

Essentially issued as a promotional release, you got handed a copy of the EP when you bought a new pair of Levi’s jeans.

Hound Dog says “Thank you, honey! I’ve been thinking about something, I don’t know what it is, but this is how the blues is, what you say?” and launches into a slow blues, ‘Everything’s Alright’. Korner does ‘Baby Doll’ and Bennett ‘Bright Lights, Big City’ with the audience clapping and singing along enthusiastically. Presumably the whole show was recorded so one wonders >>>

Australian Blues Rock Festival 1975-EP back cover 59

“Halfway through his set he’d say, ‘We’re gonna have a break for five minutes, and I mean five minutes’. He was back on stage in three and a half minutes! Those guys really meant it. They weren’t just playing the blues for the fun of it, they were singing about their life. They really shed blood for their music, it came across in their playing and their singing. Young white guys like us might have thought we were playing the blues, but really, we were barely learning how to crawl. It wasn’t just entertainment, they were singing about things like civil rights, impoverishment. That’s so rare now; it’s all about show business and making money, playing in big blues clubs. All those old blues guys lived hard lives, nobody comes close to those guys now. They were the real deal. >>> whatever happened to the mastertapes?

Levi’s Blues is a great little period piece, a genuine collectors’ item, so if you ever see a copy second-hand be sure to snap it up.

In the wake of the tour, sadly three of the main participants died within the next 18 months – Hound Dog in December 1975, Bennett in March 1976 and King that December. It truly was the end of an era.

Korner passed away in January 1984, Sonny in March 1986 and McGhee in February 1996.

“I was playing guitar with Matt Taylor for that tour, it was after Carson had broken up.

I remember the Sydney gig, at the Hordern Pavilion. It was great to watch Freddie King and his band play. They were one of the best live bands I’ve ever seen, absolutely incredible. They were like Weather Report but playing Texas blues. They were all seasoned, professional session players in that band, unapproachable in many ways.

I’ve got a feeling they were doing a world tour, they’d been to England and Alexis Korner had helped them out. That’s why they had him on the Australian tour.

“Then there was Hound Dog Taylor and the HouseRockers. Just two guitars and drums but what an incredible sound! They were one of the rock ’n’ rollinest bands ever; completely authentic, 100% raw blues, real rock ’n’ roll blues. Hound Dog tore the roof off every night with his slide guitar. He was a fantastic player, very basic but he hit what needed to be hit, no more, no less. He had Ted Harvey on drums, who’d been Elmore James’ drummer for years.

“So, they combined the best elements of Elmore James, Robert Nighthawk and JB Hutto and the Hawks, just like they were playing in Maxwell Street, Chicago. As well as their own stuff, they played all Elmore’s big hits, ‘Dust My Broom’, ‘Shake Your Moneymaker’. Genuine rock ’n’ roll blues, straight out of the south side of Chicago, as raw as hell but played with great spirit and real heart and soul.

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“When Hound Dog played at the Bondi Lifesaver, they played all night. I walked out just as the sun was coming up and I could still hear them roaring inside. Then Matt and I were doing a gig at Frenchs’ Tavern in Taylor Square and someone said that Hound Dog was listening outside. I went to see and sure enough there he was. He was pretty drunk, but it seemed like he’d talk to anybody. He had this huge crucifix around his neck; something like the Pope would wear but Hound Dog’s crucifix was bigger than the Pope’s! I just said hello and he replied ‘Hiya, honey!’ and then went on his way. He was a real character.”

Adrian Anderson (Tour manager) “That was some tour! I’ve still got the T-shirt. Because it was sponsored by Levi’s jeans, we had these huge banners with Levi’s Blues across them. When we went to Perth, we got fitted out with new Levi’s jeans, the whole crew. Matt Taylor and Phil Manning were on that tour, they still remember it.

“We had Eric Robinson from Jands looking after the stage set-up. Prior to the tour we’d been sending faxes to Freddie King’s manager, asking what speakers they wanted to use. They replied ‘we want Lansing Lansing speakers’ but we kept saying there’s no such thing, we can supply you with J.B.L. Lansing speakers. The tour started in New Zealand, so we’d just landed to meet the bands and the first thing Freddie’s tour manager did was he walked straight up to me, didn’t say ‘how you going?’, he just handed me this piece of paper and said ‘here’s the bill for the freight costs, we’ve brought our own speakers’.

Everything was on a tight budget, but he hands me this bill for $350.00 or whatever it was in those days. So that wasn’t a great start.

“But Freddie King was just incredible. One of my favourite songs is ‘She’s a Burglar’, ‘She’s a burglar / she broke into my mind / she’s a burglar / she took ev’rything she could find’. I love that whole album, The Burglar. See, all the great guitarists,

whether it’s Eric Clapton or Jimi Hendrix, they all have a signature sound. It comes from their fingers, through their guitars, into the valves, out through the amps.

They’re getting a sound that no one else can copy; everyone just tries to emulate it.

Freddie King was like that. It was just the sound he got out of those speakers, these Lansing Lansing speakers they had. Mr Lansing had made these speakers just for Freddie, which is why they were so unique.

That baffled Eric at first, but he knew he could work with that set-up.

“Hound Dog was something else. He also had his signature guitar sound but just raw as anything. I remember when we were going through Customs, when he had to sign something, he held the pen like a knife and signed with an X. He couldn’t write. I tried to keep clear of Hound Dog a bit, he was an outrageous character. He was having this disagreement with one of the other musicians. One night this guy had taken a girl up to his hotel room and Hound Dog sat on the steps outside the room and played his harmonica all night. There he was going ‘wha-wha-wha-wheeze-wha’, wailing away mournfully, at four o’clock in the bloody morning!

“In between the main concert dates, the tour broke up into three parts. Sonny Terry and Brownie McGhee, Alexis Korner and Hound Dog all played dates at the Bondi Lifesaver in Sydney. Sonny and Brownie did RMIT and La Trobe uni (Agora Theatre) and Hound Dog played at a Caulfield Institute union night. We even got Freddie King on radio 3XY in Melbourne, for an interview on the Sunday night Album Show.

“It was the Moomba long weekend, so the concert at the Melbourne showgrounds was on that Monday. That went from 6pm to midnight, while the Hordern Pavilion show in Sydney went from 1pm to 6pm. That same weekend I had to go and collect the guys from Tangerine Dream for the start of their Australian tour. Not long after that I was looking after Split Enz, they’d just made the move from New Zealand. It was all systems go in those days.”

that had once been in tune many years ago; he didn’t concern himself with the formality of actually tuning his guitar. It was only two guitars and drums, but it was fabulous stuff, just raucous, outrageous rock ’n’ roll.

He only knew how to play slide guitar one way, that raw gut bucket sound just roaring away.

“After every song he’d say to the crowd, ‘thank you, honey!’ He was swigging away on this bottle of whisky and when he finished that he opened his guitar case and there was another bottle in there, ready to go. He was always well equipped for any eventuality.

“As well as having played all night at the Bondi Lifesaver, there’s the legendary anecdote about when he walked on the stage in Perth, he said to the crowd ‘Hello Paris!’. He’d been on tour for so long all he could remember was that he was overseas somewhere, and the city started with the letter ‘P’. There’s also the famous story about him shooting one of his guitar players after they’d had an argument, this was back in the States.

“I also went to the concert at the Melbourne showgrounds on the Monday. It was great to see the whole show. Duster Bennett was a one-man band, just him, his guitar, harmonica on a rack and a bass drum. He walked a fine line between being a genuine blues artist and a circus act. Alexis Korner was a real professional, and Sonny Terry and Brownie McGhee were relatively sophisticated in comparison to Hound Dog. “Sonny was blind so Brownie would lead him on stage, and Brownie’d had polio so he could hardly walk.” Apparently, they used to argue all the time. Those old blues guys all came from the deep south, so they’d led hard lives. It was fabulous to have seen Freddie King, ’cause most people wouldn’t have even known he ever came out to Australia.”

Australian Blues Rock Festival 1975 - early promo

Gerald McNamara (Punter) “The First Australian Blues/Rock tour was a brilliant idea. I went to Caulfield Institute of Technology Union night on the Friday in the old union building, a federation style building that was adjacent to the main institute. Hound Dog Taylor played that night. There wasn’t even a stage, they just set up on the floor in the corner. I’d forgotten this but Pat Wilson reminded me a few years ago that her band, Rock Granite and the Profiles, were the support act that night.

“The whole thing was pretty spectacular.

Hound Dog was a mischievous old bugger.

He had this beaten up, old no-name guitar

Australian Blues Rock Festival 1975-EP label 1

Australian Blues Rock Festival 1975-Poster 61

Despite the flaky weather, the footy and Netflix, Melburnians are committed more than any other music fans anywhere to going out at night and in great numbers in heat or hail to listen to live music.

By Craig Horne (ROOTS: How Melbourne Became The Live Music Capital Of The World).

Melbourne’s musical landscape in the ’80s reflected the decade’s confidence and diversity. It was a tale of two cities; on the one hand, there were the mainstream commercial bands that played the beer barns like the Burvale, Matthew Flinders, The Pier Hotel, Sentimental Bloke and Southside Six. All were full to brim with fist pumping fans worshipping at the feet of The Hunters and Collectors, Australian Crawl, Paul Kelly, The Sports, Crowded House, The Black Sorrows and Mondo Rock. It was high commerce underpinned by Premier Artists and Mushroom Records who promised and delivered big budgets, big rigs, big overheads and big egos.

Running counterpoint to the high risk, high reward commercial mainstream were the independents. These were also the DIY years, when some bands shunned 62

commerciality for art. It was a time when a Melbourne form of punk flourished, especially in St Kilda venues such as the Crystal Ballroom, the Palace and the Esplanade Hotel, not to mention the Aberdeen, Tiger Lounge and Ivanhoe, soon to be the Tote. It was a scene encouraged

by Keith Glass and his record label Missing Link, and by Bruce Milne’s Au Go Go Records and underpinned by community radio stations such as RRR, PBS and 3CR. Emerging from this scene were bands like The Birthday Party, Essendon Airport and The Moodists.

In many ways, the ’80s was a decade when Melbourne cemented its reputation as the nation’s live music capital. It was the decade when you could hear not only pedalto-metal hard rock, but also, for the first time, those little-known music genres like Western Swing, zydeco, Tex-Mex or Cajun at inner city hotels.

Joe Camilleri and his two most well-known bands, Jo Jo Zep and the Falcons (initially formed in the ’70s) and The Black Sorrows, encapsulated the commercial mainstream of the era, while Andy Baylor and his Dancehall Racketeers typified Melbourne’s DIY independent scene. In their own idiosyncratic ways, both Camilleri and Baylor introduced Melbourne audiences to obscure Americana forms like Western Swing, reggae, power-pop-blues and zydeco, up until then an obscure genre born in southwest Louisiana by French Creole speakers that blended blues, rhythm and blues with French and Native American Indigenous musical forms. They presented these forms in a way that would come to be defined as the Melbourne method.

Paul Neuendorf, multi-instrumentalist and singer from such bands as The Dancehall Racketeers, Zydeco Jump and Texicali Rose, was one of the key musicians to first play this new music in Melbourne. We met in Paul’s eastern suburban home and sat at his dining room table where he described a method of ‘cross-referencing’ which came to define the Melbourne approach to this new music: Melbourne bands put their own flavour into the pot. We listen to everything from Charlie Parker to Delta Blues, Beatles, Bob Dylan, Chuck Berry, Tex-Mex, Western Swing, reels and rags. We aren’t precious or purist about any style, we respect it, but we put our own take on the music. We don’t slavishly follow one musical form, Texas blues, Lafayette Cajun, Jamaican reggae, we listen to

everything and incorporate bits and pieces into our sound. We throw a Duke Ellington lick into a Jimmy Liggins tune, Charlie Parker might wander into a Bob Willls number or on any night you might hear a Chuck Berry song played by a cajun band. It’s whatever it takes to get the people moving and whatever puts a smile on their faces. More importantly it’s whatever keeps ’em drinking and coming back for more.

Joe Camilleri understands the Melbourne’s cross-referencing musical process very well — it has defined his career for the past five decades.

I’ve known Joe from afar for many years. I used to see him scuffling around the hard streets of Carlton in the early ’70s when he was playing with Peter Lillie, Johnny Topper and Stephen Cummings in the Pelaco Brothers. A skinny little bloke with a wild dress sense, he crackled with energy.

Our paths crossed at gigs and in rehearsal spaces at that time, I think I referred to him as The Maltese Falcon, not terribly original I know. He had an enormous presence, he dressed in suits, wore turbans, played crazy sax. At that time, he often spoke in song titles … ‘Hey man, Move it on Over, I need some space,’ or when you asked how he was he might answer, ‘I Can’t Get No Satisfaction, man’, don’t know why. Maybe he didn’t want to get too close and so he just deflected people like me with jive, or maybe he was just shy and didn’t want to reveal anything about himself. I didn’t find out the answer until much later.

I reconnected with Joe through Jeff Burstin.

They played together for over eighteen years in Jo Jo Zep and the Falcons and The Black Sorrows and it was Jeff who arranged for me to meet Joe early one Friday morning at his favourite café in South Melbourne. He ordered a steak, sausages, eggs, mushrooms, maybe some avocado, lashings of toast and a coffee. Over the next hour he demolished the lot as we talked about his life in music.

In the mid-’50s, Joe was a child finding his way through ... Port Melbourne in 1955.

Back then there was not a latte or bruschetta in sight — just painters and dockers, wharf labourers and toughs drinkin’ hard at the Pier or Prince Alfred until they were chucked out at 6pm, known universally at the time as six o’clock closing.

But it was after six in the evening that Bay and Pickles Street got particularly dangerous. At that time there was no one walkin’ and talkin’ with the lord, and if

Joe Camilleri

THE ROOTS

OF THE WORLD’S LIVE MUSIC CAPITAL

you happened to be in the wrong place at the wrong time it was as though you were standing naked. In the ’50s, Port Melbourne streets were dark, despairing places. People carried knives and, some people, guns so you kept your head down and your eyes on your feet, especially if you were a little different; a boy from Malta for instance. Joe told me that he was ‘called a greasy wog and beaten with pickets off those wooden Victorian fences. I tried to be invisible… at the start anyway.’ Joe, as a Catholic attended the local Catholic school and school was tough, and he ended up leaving early.

At this time, Elvis and Buddy Holly, Little Richard, Jerry Lee and Johnny O’Keefe ruled the airwaves. Joe explained that he and his mates took solace in this music; not his brother’s piano accordion or the tuba played by his father but ‘Hit the Road Jack’

by Ray Charles, and eventually the songs of Bo Diddley and Chuck Berry.

Chuck was Joe’s first role model in incorporating different music forms and

creating something new and exciting. It was through the latter that the first hint of Western Swing hit Melbourne. Listen to Berry’s ‘Maybelline’ and you can hear Bob Wills’ ‘Ida Red’; it’s Wills’ feel that races the Cadillac and Ford down Chuck’s idiosyncratic highway. But hey, Berry was working firmly in the folk tradition, he borrowed stuff and added his own thing and that thing opened a lot of minds to a lot of possibilities, including Joe’s.

Melbourne-based teenagers like Joe certainly picked up on those possibilities in Berry’s lyrics, which were as much a motivating force as his duck walk and his signature double string slur. Joe Camilleri heard the message as he told me: We formed a band called the Drollies, I sang and tried to play bass. It was a time when if you liked the look of drums, you were the drummer in the band. So, there we were, learning our instruments, trying to play Chuck Berry songs and Little Richard’s ‘Lucille’ — we failed badly.

But Joe was doing something right; soon, he was headhunted by the bluesy King Bees as their singer. The band included Peter Starkie, soon to be a founding member of Skyhooks, and Dave Flett, who would go on to Captain Matchbox. Joe told me that ‘Dave was a big influence on me, he introduced me to blues and jazz.’

It was the mid-’60s, so the King Bees were playing radio hits by the Beatles and the Stones; but they were spreading some country-infused bluesy goodness all over those radio songs. It was a great education in cross-fertilisation for Joseph, and the band was really getting somewhere. But it all came crashing down when Dave and Peter went off to university; says Joe, ‘I was lost for a while.’ Soon after, however, he was asked to fill in for Broderick Smith as the singer for The Adderley Smith Blues Band while Broderick was away in the army.

I was the wrong singer for that band, I was a bit more adventurous with my clobber …

I lasted about a year in the Adderley Smith Blues Band. It was fun, and it was great to connect with Kerryn Tolhurst … But my tastes were changing; I’d gotten into Miles Davis’ ‘Bitches Brew’ and John Coltrane’s ‘A Love Supreme’.

Joe then teamed up with Peter Starkie, Dave Fleet, and Jane Clifton in Lipp Arthur and the Double Decker Brothers. By joining Lipp Arthur, it was as though Joe had

entered a musical hothouse: I heard Eric Dolphy and decided I wanted to play the saxophone. It was 1971, I was 23, and I was in the city, bored. Russell Street had a lot of music shops in those days, and I walked into Clements, they had a sax in the window for $32. I bought it. I got it home and it was really dirty, so I chucked it in the bath, ruining all the pads. It was shiny, but unplayable. I’ve still got that sax.

Joe laughed at the memory and told me that it was while playing with Lipp Arthur that he began to flourish as a musician: We played avant-garde pop songs and Robert Johnson blues with a John Coltrane twist.

It was a wild free band that had Captain Beefheart’s Trout Mask Replica as our bible.

We treated music as an art form and the scene was receptive to that, the T.F. Much Ballroom in Fitzroy was perfect for us; a big stage, fire-eaters and jugglers between the acts; you could buy dope or incense in the foyer. Daddy Cool, Captain Matchbox, or MacKenzie Theory were all on the bill, and the audience were freaks — a great place to play. Campus audiences loved us too. It was a culture thing — they got off on the Ornette Coleman and Beefheart. I also learnt about presentation around that time, I was an apprentice tailor and used to make these crazy suits to wear on the weekend, green, orange, didn’t matter, they only lasted a couple of days then fall apart.

Then came the Pelaco Brothers, a band fronted by Joe on sax and vocals and including Stephen Cummings on vocals, Johnny Topper bass, Peter Lillie guitar, Chris Worrall guitar, Karl Wolfe drums and later Ed Bates on guitar. The band, which lasted just eighteen months, played an amalgam of styles such as rockabilly, country swing and R&B, all with a fiercely Australian outlook. Of the band, Ian McFarlane wrote that ‘they virtually defined a scene that encompassed a new musical aesthetic.’ Joe described the approach: We couldn’t play that well, at first we were like $2 chicken on a $3 plate, but we worked it out by playin’ six nights a week. We swapped licks and learnt from each other, we wrote our own songs; played universities and the word spread.

The word spread all the way to Ross Wilson.

Extract from ROOTS: How Melbourne Became The Live Music Capital Of The World by Craig Horne. Published by Melbourne Books, $34.95.

Launch event at the Caravan Club December 7.

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By Brian Wise Robert Johnson’s famous ‘devil’s crossroads’ might be 750 kilometres to the east in Mississippi but Dallas, Texas, is where the legendary bluesman recorded almost half his catalogue of 29 songs back in 1937.

So, it is fitting that the sixth edition of Eric Clapton’s celebration of the guitar returns to where it started in 2004. After the last festival at New York’s Madison Square Garden in 2013 it was dubious, given some of Clapton’s health problems and his diminishing touring schedule, that the festival would ever be held again. Luckily, Clapton decided to resurrect the event this year. Six years on, he has also diversified the line-up and included many more women than were on the bill that I witnessed in New York (and about which I remarked at the time).

As if to make up for the gap, this time there was over 13 ½ hours of guitar over two nights – enough to satisfy any guitar head - with an array of legends and rising stars, a guitar exhibition and an auction to raise money for the Clapton-sponsored rehab facility which he founded on the Caribbean island of Antigua in 1998.

Months ago, when booking tickets, we wondered whether we should book one night or go the whole hog and book both shows. Thank goodness that we opted for the latter as we would have been mortified to have missed out, given the line-up and length of the Saturday show. It turned out to be two relatively expensive nights, but we could never complain about the value.

How much is too much guitar? It depends on how fanatical you are about the instrument that basically changed the history of popular music. Over the course of two long shows there were enough styles and genres – but still mostly blues – to illustrate just

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Eric Clapton’s Crossroads Guitar Festival Friday September 20 & Saturday September 21 American Airlines Arena - Dallas, Texas how important the guitar has become.

There were more grimaces from guitarists than ever seen in one place and more notes played than Miles Davis played in his entire career but there were also some salient lessons. The really great guitarists on show – Clapton, Buddy Guy, Jeff Beck, Bonnie Raitt, Jimmie Vaughan etc – make it look easy. Not too many grimaces and flourishes amongst the veterans. It still doesn’t matter how many notes you play and how fast you play them – it is how you play them. Or, to quote Miles: “It’s not the notes you play it’s the notes you don’t play.”

MC for both nights was comedian Bill Murray who gave a somewhat of a surreal performance, with some of his remarks being hilarious and some being just plain weird. Introducing jazz guitarist Kurt Rosenwinkel about half-way through the first night, he suggested that a jazz bracket would be a good time for people to take a break and get a drink and then remarked, “You couldn’t force jazz down my throat until I discovered it could be very lucrative.”

Not your average gushing MC. Sony Landreth opened the Friday night show with a powerful set and then Murray introduced Clapton surprisingly early, as “a

young guy I think you will like.’ With just an acoustic guitar he was joined by his band - Andy Fairweather Low, Jamie Oldaker, Steve Gadd, Nathan East and Pedrito Martinez - for a low-key set that included ‘Wonderful Tonight,’ ‘Lay Down Sally,’ ‘Tears in Heaven’ and ‘Nobody Knows You When You’re Down and Out.’ Clapton dedicated the weekend to guitar tech Alan Rogan, who died earlier in the year.

After Clapton, Bonnie Raitt and Keb Mo’ entered the smaller side stage to play a couple of songs in an acoustic set, including Dylan’s ‘Million Miles.’ (The smaller stages on either side of a rotating main stage meant that there were no lulls between performances). Then Clapton’s partner Melia Clapton came on to promote, Turn Up for Recovery, a new project that aims to raise awareness and funds for abstinencebased recovery.

The evening proceeded with Citizen Cope, Sheryl Crow (who included Dylan’s ‘Everything Is Broken’ with Raitt and James Bay as guests), Pedro Martins and Daniel Santiago and then Kurt Rosenwinkel with Pedro Martins. James Burton and Albert Lee appeared on a side stage with Jamie Oldaker and Nathan East for an all too brief set that included ‘That’s Alright Mama’ and Buddy Holly’s ‘Rock Around With Ollie Vee.’ Jimmie Vaughan added some blues class and Bonnie Raitt, who seemed to be ubiquitous, joined him for ‘Baby Please Come Home’ while Billy Gibbons appeared for ZZ Top’s ‘Sharp Dressed Man’ and ‘La Grange.’ Doyle Bramhall and Gary Clark Jr offered an acoustic ‘Rock Me Baby’ on the side stage before Marcus King and his band launched into a raucous set that was a good example of overplaying (and over singing).

I had been impressed with Kin at Bluesfest but here he seemed to be trying a little too hard.

Peter Frampton, who is on his final tour (due to ongoing health problems) performed ‘Georgia On My Mind’ and his classic ‘Do You Feel Like We Do’ and was joined by Clapton for a spirited ‘While My Guitar Gently Weeps.’ Amazing to think that I was seeing one of the guitarists who played on the original recording with The Beatles reprising it.

Jeff Beck concluded the first day’s performances with a very tasteful set that featured a guest appearance by Johnny Depp (looking like Captain Jack) on John Lennon’s ‘Isolation’, ‘Superstition’ and ‘Little Wing.’ I am not actually certain that Depp’s guitar was turned up, but I do know that he seems as though he would be much happier being a musician than an actor.

Beck proved again how great he is: no histrionics, no guitar changes, not too many notes!

Fortunately, we checked our tickets for the Saturday show because I had assumed that it would be another evening concert.

Instead, it started at four in the afternoon.

By the time we arrived it was already crammed with people checking out the Guitar Center Village with exhibits, clinics and performances prior to the main event.

It turned out to be a massive afternoon and evening ending at just after midnight.

Robert Randolph and The Family Band started the entertainment and then Doyle Bramhall II (guitarist in Clapton’s band) played his own set with Jim Keltner guesting on drums and Susan Tedeschi and Derek Trucks guesting on Otis Redding’s ‘That’s How Strong My Love Is’ and then ‘Going Going Gone.’

If Bill Murray thought the jazz interlude was a good time to take a break, I would argue that when Tom Misch invited John Mayer onstage or when James Bay played a fivesong bracket (with an unappealing version of ‘Proud Mary’) offered a great chance for a break. It was a little later, when Mayer did a couple of solo songs that I took the chance

to grab a drink and a snack. Enough said.

Los Lobos, who were their usual uncompromising selves had Clapton, Trucks and Tedeschi as guests for several songs and as well as performing a number of Spanish songs they did great versions of ‘How Will The Wolf Survive,’ ‘I Walk Alone’ and ‘I Got Loaded.’ Still one of the greatest live bands in the world. Keb Mo’ on the side stage was followed by a terrific set on the main stage from the Robert Cray Band without the Stax horn section or songs. I know some people find Cray a bit bland but the last couple of times I have seen him he has been really impressive: great player and superb voice.

He is like Rodney Dangerfield: he just can’t get no respect.

Buddy Guy then came on to show the predominantly (95%) white audience what the blues is all about. It is hard to believe that Guy is 83 years old because his energy level is so high. It looks like he could go on forever and the sad thing is that we know he cannot. But while he is still here, he outshines everyone else. Not only that he was getting around the stage better than I possibly could (although I had just had knee surgery). He was joined by Jonny Lang who seemed happy to take a back seat to the last of the great Chicago blues legends on killer versions of ‘Cognac’, ‘I Just Want To Make Love To You’ and ‘Five Long Years.’

The Tedeschi Trucks Band just keep getting better and better on the evidence of their five-song set that included ‘Signs,’ ‘High Times’, ‘Down In The Flood’, ‘How Blue Can You Get?’ (dedicated to the memory of BB King), Derek & The Domino’s ‘Keep On Growing’ and ’Shame.’ Guitar freaks might have been salivating over Derek’s playing but I have to say that Susan Tedeschi has to be his equal when given the chance to solo – and she can sing!

Gary Clark Jr is another musician who is also moving ahead in leaps and bounds. I wasn’t sure where he would go after his debut album but his latest album, This Land,’ has got him on the right track. It’s where the

blues needs to go. His set included ‘Bright Lights’ from Blak & Blu and then ‘Feed The Babies’, ‘I Got My Eyes On You’, ‘Low Down Rolling Stone’ and ‘Pearl Cadillac’ from this land and an epic version of The Beatle’s ‘Come Together.’

Vince Gill, fresh from his stint with the Eagles invited Albert Lee, Bradley Walker, Jerry Douglas and Joe Walsh into his eight song set that included ‘Tonight The Bottle Let Me Down’, ‘Ode To Billie Joe’, ‘Tulsa Time’ (with Lee, Douglas and Bradley Walker singing), ‘Drifting Too Far From The Shore’ and ‘Hey Joe’, ‘Rocky Mountain Way’ and Life In The Fast Lane’ with Joe Walsh.

Finally, Eric Clapton and his band arrived to close the show but not before singing happy birthday to Bill Murray. Clapton was what a lot of people had been waiting for and there were numerous people around us who had flown in from Europe just for this.

Clapton’s band this time consisted of two keyboard players and two drummers! Chris Stainton and Paul Carrack (keys/vocals), Doyle Bramhall II (guitar /vocals), Nathan East (bass/vocals), Katie Kissoon (vocals), Sharon White (vocals), Pedrito Martinez (percussion), Sonny Emory (drums) and Steve Gadd (drums). Added guests here were Alan Darby (guitar) and John Mayer.

Again Clapton showed his class and that, despite any recent health problems, he is still a magnificent guitarist.

It was nice to hear ‘Key To The Highway,’ ‘Hoochie Coochie Man’, a great rendition of ‘Badge’ (one of my favourites), ‘Little Queen of Spades’, an electric version of ‘Layla’ and ‘Crossroads.’ The first encore was an epic version of ‘Purple Rain’ and then everyone joined Clapton for an even longer version of Traffic’s ‘High Time We Went.’ (At one stage there I was worried that they didn’t know how to finish the song!).

No doubt this Crossroads concert will be out on DVD but having been there this was more enough guitar for me for a while, even if it takes six years for the next event!

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33 1/3 REVELATIONS PER MINUTE CARL PANNUZZO

By Martin Jones

By Nick Charles

PAT METHENY & LYLE MAYS As Falls Wichita, So Falls Wichita Falls ECM

Carl has unique, soulful approach to the blues, both as an extremely rhythmic drummer and wonderfully expressive singer. I’ve seen him in incredibly diverse musical situations from quirky folk to pure jazz and of course Chequerboard Lounge and their blues explorations. There’s nothing else like them in the scene and they’re on their way to Memphis!

What do you see as the connecting thread in your musical story?

Despite the eclecticism, I value good musicianship, rapport, creative invention and daring which is evident in the playful approaches common across my projects.

Readiness, listening and the ability to ‘respond’ are the things that bring life to music. First it’s got to move and feel good.

Then attitude, commitment and unlimited possibility.

I love the openness, the swing and the space you create. It’s vastly different from the usual rock-boogie rhythm sections we hear a lot. What drummers have influenced you?

That ‘open’ feel seems greatly responsible for the sense of adventure in Checkerboard Lounge’s blues.

noticed a hole and a total lack of groove. His rhythm was so intermeshed with time and feel, that it revealed how clunky music could be without this. I realised it was a whole band agreement - an attitude to a feel that everyone created - like a Daddy Cool groove. Then there is ‘play’, the spontaneity of following someone down a rabbit hole or a surprise left turn - even from a ‘happy accident’ - again, Max encouraged me to embrace that - like the old Goethe quote, ‘Boldness has genius, power and magic in it’ - it’s just bloody exciting and fun and adds a sense of immediacy to a live experience.

So we co-create by ‘responding’ to each other’s impulses. It has more potency when your response is authentic, so it can’t be pre-fabricated or controlled. Then if given skill and a good vocabulary, there is fire and electricity. Then the audience responds.

When Dave ‘Max’ Meredith was going through a mania that prevented him playing consistently at gigs, sometimes you couldn’t hear him at all, but when he stopped playing altogether, you really

It seems to me that you sit quite high over your drum-kit, perhaps resulting from being a vocalist too? I guess I’d like to hear about the physicality of singing and playing drums.

Think about bands like Little Feat, they’re all feeling the space between the beats and playing to that - there is buoyancy; it’s invisible, consciously imperceptible but you feel it. But my biggest influences were Australian drummers. The late Peter Jones in Dianna Kiss, could push or pull a groove to the smallest degree to such great effect.

Andy Fitzgibbon, what a shuffle! Same with Gordon Pendleton, such movement and attack! David Jones a joyful playful virtuoso.

JoJo Smith’s solid, tight but fat-grooving feels. But I really got off on the rhythmic genius of other instrumentalists too, e.g.

Oscar Peterson, Aretha Franklin’s phrasing etc.

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I’ve always had my drums and cymbals as low and close as possible. I believe in ergonomic efficient movement and don’t need to waste energy flailing my arms up high to reach a cymbal that just doesn’t need to be that far away! I feel I’ve got more control over dynamics and sound colours with everything just at access. Somehow singing and drumming feels like one action these days - ultimately it’s all expression.

Great news about the recognition of Checkerboard Lounge and the upcoming trip to Memphis. What are the plans for the band?

We’re in the process of making an alloriginal album to take with us and we’ll do a few gigs over there courtesy of mate and legend Fiona Boyes. We might also go to Austin, Texas to record in the studio of our old Hammond player Dave Boyle, and maybe get some new duds made at Lansky’s. It’s pretty exciting to be going to be part of the global blues community there. I’m hoping we’ll turn a few heads

A few issues ago, I wrote about my gripping discovery of Talk Talk, and their role as founding fathers of post-rock.

Well, the year that Talk Talk formed (1981), instrumental doyens Lyle Mays and Pat Metheny teamed up with percussionist Nana Vasconcelos to conjure a soundtrack to the future – sparse and innovative, beautiful and surprising at every turn. If it wasn’t an influence on Mark Hollis, I’d be surprised.

The album, titled As Falls Wichita, So Falls Wichita Falls, bristles with intrigue for the musically inquisitive. The cover image of telegraph wires and a telephone handset is a signpost to the immortal Jimmy Webb song ‘Whichita Lineman’. And the album tracklist includes a dedication to piano god Bill Evans – the relevant song titled ‘September Fifteenth’, the day Bill Evans died in 1980.

Those two signals alone were enough for me to dive in.

There are further welcome signs. Any album that fills its entire A-side with a single track is immediately irresistible.

Two songs from the album were featured on the 1985 film Fandango. And Christian Dior used edits of the twenty-minute title track on his advertising campaign for the infamous Fahrenheit scent. All this tells you that this recording profoundly impressed many interesting people for many different reasons.

Oh, and it’s on the ECM label. And recorded in Oslo, Sweden.

It’s an album of two distinct parts. Side A features the 20-minute-44-seconds title movement, Side B four shorter pieces.

It’s certainly not jazz fusion. While Side B features some more traditional jazz stylings, the album is more focused on a tensionand-release amalgamation of classical forms and psychedelic rock. Indeed, reviewing the album for the New York Times, Stephen Holden commented, “Rock fans who enjoy the lush ‘’head music’’ of Pink Floyd should also enjoy this more refined psychedelia, while aficionados of new music composers like Philip Glass will appreciate the score’s skillful [sic] adaptation of the new music’s principles of repetition and vocalise.”

Much like the opening to Talk Talk’s Laughing Stock, As Falls Wichita, So Falls Wichita Falls invites you to lean in to the space and silence. The introduction is built on barely audible crowd bellowing and something like ball bearings rolling around in a tray while a

pulsing bass line and synth chords creep in.

It would be at home on the opening credits of Terminator. Delicate wind chimes and flute sounds follow with heavily treated electric guitar picking. If you’re not intrigued by now there’s something wrong with you.

It’s here that a melodic theme is introduced, with Pat Metheney playing what sounds like an electric fretless bass underneath.

The volume and intensity of the melody gradually swells to minor climax at about six minutes when a percussive ticking is introduced like a countdown clock. It’s all about building image and tension; drama with shakers and otherworldly voiced synthesizers.

Mays has said of this part, “I still don’t know what to make of the section. It doesn’t sound like anything I had heard before.”

A ghostly organ them materialises and fretless bass slowly emerges behind it.

“There was an electric organ in the studio I’d never seen before that sounded pretty good and dialled up a quasi church organ sound and tried improvising some stuff that sounded backwards,” Metheny has said. “I tried to play the organ in such a way with the volume pedal and the movement of notes that it was in between music that was going forward and music that was going backwards.”

Then at about 13 minutes, rock drums and keys bloom into a climax that only lasts a minute before the shakers fade and we’re taken into a floating synth outro with snippets of spoken word numbers that sounds like something out of Bladerunner (which was in production at the time).

“I’ve got letters over the years that range from the hilarious to the just sobering interpretations that people have for what those numbers mean,” Metheny has recalled.

The numbers were actually Mays verbally counting out sections of the score for his overdubs and were muted out of the recording. Producer Manfred Eicher accidentally unmuted them and the effects took everyone to an even more intriguing place.

Side A is worth the price of admission alone, but Side B is redolent with treats varied and delectable. From ‘Ozark’’s jaunty tribute to the origins of American folk music, to the poignant Evans tribute ‘September Fifteenth’ (a breathtaking dance between Mays’ piano and Metheny’s nylon guitar), to the melodically ebullient ‘It’s For You’, to the otherworldly closer, ‘Estupenda Graca’ which sounds like aesthetically enlightened alien creatures performing ‘Amazing Grace’ – Wow! 67

UNDERWATER IS WHERE THE ACTION IS

LOST IN THE SHUFFLE

BY KEITH GLASS

BY CHRISTOPHER HOLLOW

Luna

Postscripts EP (Double Feature)

Shjips frontman Ridley Johnson, usually go for a linear boom-pah-pah-boom-pah rhythmic backing with stoner noises and vocals melted over the top (a rhythm and sound I adore, btw). But they’ve done that for a bunch of similar sounding releases for around a decade.

stately genius of that number.

I mention this because it’ll give a good idea of where this Kentucky folk singer is coming from on Like the River Loves the Sea. Quiet and assured.

‘Cycle’ is a song that I can play over and over and not get sick of with its great strings while ‘Coming Down for You’ has a rollicking rhythm and alluring melody.

Gene Clark

you can hear all kinds of guitars, mandolins, pianos, talking drums and vocals that got dropped, or buried, in the final mix. As I always say to anyone who will listen, it’s a good time to be a Gene Clark fan.

Belle & Sebastian Days of the Bagnold Summer (Matador)

No Other

BLUE JUG S/T

CAPRICORN CP 0158 By 1975 Southern Rock’s mainstay label Capricorn were looking further afield for talent. Problem was that any act on the label risked being labeled as the style of music the Macon Georgia label was most associated with, namely Southern Rock.

Hence any mention of the five piece outfit Blue Jug (not that there are many) just throws them in with Marshall Tucker, Cowboy etc and all in the shadow of The Allman Brothers Band – the trouble was these boys were coming at their sound from a whole different perspective.

Blue Jug most closely resembles The Band.

I hear two or three lead vocals, sometimes all within one song, short stabbing guitar breaks, and a vintage rustic overall tone in the vocals and highly inventive interplay in the instrumentation. Of course we already had THE Band so it was going to take something special for Blue Jug to break through. At their best they had it.

Unfortunately the highlights seem to be held back for side two of the album. Main songwriter Ed Ratzeloff’s When The Moon Rises is an addictive treasure with yearning 68

duel lead vocals, winsome organ and ‘middle eight’ break that lifts it into classic territory. A Miner’s Song is astonishing in its bleak subject matter (miner’s trapped underground) and execution – staccato beats and relentless doom and gloom – with only the hope of ‘glory land’ as relief from the tension. It is a singular work that at least should have been noticed at the time – somewhere!

Come On To Town Ned, a third song by Ratzeloff eases the tension and is about as joyful (especially with fiddle by Buddy Spicher) as these rural rockers can get. I’m sure now 45 or so years later they would be delighted to know someone can say this triad of tunes is among the best 1.2.3 punches on a slab on vinyl I have ever heard.

Maybe they should have kicked off the album. There is more good stuff on side one such as opener ‘Hard Luck Jimmy’ & really nothing lets the group down - even if the album feels like the flip side is the main side.

The main conjecture I’m sure was how to market this band? It’s not like THE Band were the iconic force they are today in 1975 so alas the Capricorn label though still viable and available might have been the wrong avenue to turn to. There were of course

many more worthy contenders in that time frame also not gaining traction. That said I’ve found few groups matching what this outfit had to offer and virtually receiving (as I said) no recognition whatsoever.

I have also never seen a copy of the group’s second album (also titled Blue Jug).

Produced in Nashville in 1978 by the same duo of Johnny Slate and Larry Henley it seems to have a radically changed line-up from this initial work.

Main writer and chief lead singer Ed Ratzeloff may have jumped ship for the follow-up (he does not seem to feature in the line-up) but he did re-appear as a rockin’ Christian artist with the slightly re-arranged name Ed Raetzloff for two albums the first of which came out in 1980. These have been described as ‘southern rock’ but a couple of tracks I’ve heard online show more kinship with the lighter ballad side of Bob Seeger.

No bad thing – then Ed along with the rest of the band (so far as I can tell), fell off the radar they were barely on to begin with.

Exactly where Blue Jug came from I don’t know. Middle America for sure but middle of the road definitely not. This album sounds fresh as a daisy today – maybe even better in an era when the roots have finally found a roost.

The only time Dean Wareham has ever let me down as an interpreter of other songwriters is when Luna covered ‘Sweet Child O Mine’ back in 1999.

At the time, I wasn’t ready to re-evaluate what Guns N’ Roses meant to my life (as a kid, they represented the enemy).

Twenty years later, I’m still not ready. But I do love it when artists force you to reconsider songs. On Postscripts, Wareham takes on a latecareer Roy Orbison number, ‘California Blue’, written by Roy, Jeff Lynne and Tom Petty, that I never would’ve listened to on my own time (the Traveling Wilburys also felt passé to this 80s teen). It’s the centrepiece to this Postscripts EP. There’s also a great version of the Monochrome Set’s ‘Inside Your Heart’ and a fab remix of Willie Alexander’s ‘Gin’. The only cover I was unsure about was Thunderclap Newman’s ‘Something in the Air’ with guitarist Sean Eden on vocals. It feels odd to be singing: ‘get out your arms and ammo because the revolution’s here’ in 2019.

But it eventually won me over.

Moon Duo

Stars Are the Light (Sacred Bones) Now, this is a welcome change; the most unique sounding Moon Duo record yet. Sanae Yamada and partner, Wooden

(4AD/Remote Control)

This LP is billed as disco and is akin to 90s Madonna (albeit with much cheaper studio costs). ‘Lost Heads’ has that Madge Ray of Light vibe as does album opener, ‘Flying’, with its strong electronica bent while ‘Eternal Shore’ showcases the drive and tension that’s been so successful on past records but with the new synthdriven outlook.

Joan Shelley

Like the River Loves the Sea (No Quarter)

You can almost hear the fire crackling or the cicadas singing on this one. Last year, Joan Shelley covered Nick Drake’s ‘Time Has Told Me’ for an EP called Rivers and Vessels.

It was a wonderful version that captured the hushed,

I became a Gene Clark enthusiast around my 21st birthday (just a year following Gene’s death) and fell hard for the ex-Byrd’s music. Now, I’m mid-40s and thinking: will I be alive when all the good Gene archives are finally released?

All Gene Clark’s records are masterpieces, but 1974’s No Other is rightly put up as the jewel-in-the-crown because of its stellar songwriting, singular sound and unusual mix. Like all great works, it’s the one you must work hardest for, bend an ear, re-arrange your thoughts.

First up, it’s expansive – Gene was in a particularly cosmic mood (‘Said she saw the sword of sunken sorrow in the sand of searching souls’, he sang on ‘From a Silver Phial’). It also sounds expensive (producer Thomas Jefferson Kaye reportedly spent $100,000 of David Geffen’s 1974 money on it). This super deluxe version adds a bunch of alternate takes that help understand this deep record. They’re stripped of expensive finishing touches and

This is the soundtrack to a mopey coming-of-age film starring Nick Cave’s son, Earl.

Granted, you could make a case for every Belle and Sebastian record being a soundtrack to a mopey teenage coming-ofage feature. Stuart Murdoch’s voice has always had that edge of climaxing too fast when confronted with the hottest Ann-Margret of your life. With this in mind, I gravitated to the instrumentals – songs like ‘Sister Buddha (Intro)’, which could be straight off the 70s Monte Hellman western China 9, Liberty 37 and ‘Jill Pole’ with its Toots Thielemans/Midnight Cowboy style high harmonica.

Great songs. But, once in, I was also really taken with songs like ‘Safety Valve’ and ‘I’ll Keep It Inside’ which are mixed with older numbers like ‘Get Away from Here, I’m Dying’ and ‘I Know Where the Summer Goes’, culled from ‘90s B&S records I grew up on.

69

YOU WON’T HEAR THIS ON THE RADIO

By Trevor J. Liquid Damage

JACK KLATT

GERAINT WATKINS

(Yep Roc/Planet)

(Last Music Co/Planet)

IT AIN’T THE SAME

RUSH OF BLOOD

Until now, Klatt’s approach to his country blues and pre-war blues recordings has been on a spontaneous, straight to tape basis. Spending more in the studios has reaped its own rewards on this fabulous set of originals that significantly broadens his musical palette.

There are still hints of early rock’n’roll, country balladry and straight Rhythm’n’Blues, but most noticeable is the country-soul sound reminiscent of Nick Lowe permeating throughout. Coloured throughout by gorgeous finger picked baritone guitar and soaring pedal steel, simplicity is the key to Klatt’s vision and the 11 songs never outstay their welcome.

Given the bona fide legends he’s been intrinsically linked with (Nick Lowe, Elvis Costello, Dave Edmunds and Van Morrison for starters), collaborating with Simon Ratcliffe from the electronic dance combo Basement Jaxx seems odd to say the least, not to mention refraining from playing piano on more than half the album; both decisions are roundly justified.

The revered sideman effortlessly steps out of the shadows of his illustrious contemporaries to record his finest solo album, one that dabbles in old school R’n’B, jazz, blues and country; an indispensable shot of UK Americana.

ROY WOOD

AMY SPEACE

MUSTARD

(Esoteric/Planet)

ME AND THE GHOST OF CHARLEMAGNE (Proper/Planet)

The term ‘genius’ is bandied around way too often, but in the case of Roy Wood it is entirely appropriate. The driving force behind The Move, Electric Light Orchestra (before they turned to muzak) and Wizzard, Wood literally does it all on his second solo album. This glorious 1975 masterpiece has been spruced up and embellished with numerous hard to find Wood and Wizzard singles. Eclectic and eccentric, everything is played by Wood, the only assistance coming by way of vocals from Phil Everly and Renaissance’s Annie Halsam; scintillating listening.

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Long known for her deeply personal chronicling of life on the road, Speace’s latest offering takes the raw honesty of her observations up a notch with devastating effect. Charlemagne’s sometimes harrowing tales of heartbreak and tribulation touch on sensitive issues such as abortion and child abuse, yet the tenderness of her voice and sparse arrangements combine to make each song compelling.

For all that, Speace rails against overwhelming despair as she closes with a tenderly naked

BY CHRIS FAMILTON

interpretation of Ben Glover’s ‘Kindness’, beseeching “may kindness know you”.

songwriter, virtuoso guitarist and national treasure; what’s not to like.

LEEROY STAGGER

THEA GILMORE

(True North/Planet)

(Shameless Records/Planet)

STRANGE PATH

On his 12th album, the Canadian singer/songwriter has moved on from his alt-country roots.

Still utilising the services of Pete Thomas, Tyson Maiko, Paul Rigby, Ryland Moranz and Michael Ayotte, Stagger’s touring around the UK sees a harder edge prevail.

‘Breaking News’ is a standout, a stomper that draws upon and pays homage to Joe Strummer, and ‘Jesus And Buddha’ draws inspiration from the Tom Petty well. Indeed, much of Stranger Path has a Heartbreakers feel to it, save for the glam-rock frenzy of ‘Strange Attractor’.

MARTIN SIMPSON ROOTED

(Topic/Planet)

There are few who can couch messages of social conscience as sublimely as Martin Simpson, and his latest effort continues that trend. Regular sidekicks Nancy Kerr (fiddle) and Andy Cutting (melodeon) are in attendance but this sonically uncluttered selection of traditional and originals is officially a solo affair.

Simpson’s taste in material is, as usual, impeccable, with songs judiciously selected from both sides of the Atlantic.

Heart warming vocals, master

WAITIN’ AROUND TO DIE

SMALL WORLD TURNING

Gilmore’s last three albums have all garnered international chart success by mining a more commercial middle ground. Now she has made a welcome return to her folk roots, employing acoustic strings and with the likes of Cara Dillon and the Lakeman brothers lending a hand. A gifted songwriter and justly revered lyricist, the dozen songs are uniformly thought-provoking and powerful statements on her homeland’s social and political past and present. She is a mighty talent.

SUTHERLAND BROTHERS & QUIVER THE ALBUMS

(Cherry Red/Planet)

The Scottish brothers and their English backing band’s eight albums from 1971-1979 are a sheer delight to listen to. A hybrid of folk-rock and pop, they regularly entered the album and singles charts. Perhaps unfairly, their greatest brush with global renown came not with their own version of ‘Sailing’ (from 1972’s brilliant Lifeboat album) but via the Rod Stewart cover. Copious non-album cuts, singles and B-Sides have been included in the clamshell box

UNSUNG HEROES – MALCOLM HOLCOMBE Recently, at Justin Townes Earle’s Sydney show, he made a point of extolling the talents of songwriter Malcolm Holcombe, going as far as comparing him to Tom Waits and Leonard Cohen, in terms of how hard it is to pinpoint the influences that informed the style of those artists. Earle covered Holcombe’s ‘Who Carried You’ and the silence and attentiveness of the audience was palpable.

Holcombe is one of those artists you can classify as an unsung hero, underrated and nowhere as well-known as he should be. He’s not a songwriter working away behind a closed door, away from the public eye. He’s a working musician and live performer. He’s been releasing albums under his own name since his official debut, A Hundred Lies, back in 1999 (originally recorded in 1996 but shelved until the end of that decade due to label shakeups).

Growing up in North Carolina, Holcombe made the move to Nashville in the early 90s where he quickly built a reputation for both his songwriting and his love of a drink or three. Steve Earle famously called Holcombe “the best songwriter I’ve ever had to throw out of my studio.” His debut was the result of signing to Geffen Records, but with its release delayed, Holcombe missed the bus on gaining momentum in the famous music town. By the time it came out he’d already headed back to North Carolina where he continued to play regularly and release albums every couple of years, right up to last year’s wonderful Come Hell Or High Water.

Holcombe is now in his mid 60s but he’s always sounded decades beyond his years. His signature gritty, slurred voice sounds like it was pulled straight from the dust and rock-laden earth of his native Southern Appalachian landscape. He delivers his songs in a soulful and aching blues sound yet posits in the world of folk and country music. Yanked acoustic guitar strings, delicate fingerpicking and heavy strumming all feature in his playing, whether it’s stark and solo like ‘Damn Weeds’ (Pretty Little Troubles, 2017), the dark and rolling sound of ‘Pitiful Blues’, the title track from his 2014 album, or with the full high-fidelity studio treatment of the songs he rerecorded for The RCA Sessions, at the legendary RCA Studios in Nashville in 2014, to mark 20 years of his musical career.

Lyrically, Holcombe documents lovers and miscreants struggling against life. His poetry comes from deep in the backwoods, from

empty bottles in dead-end motels and the dark and emotional recesses of his mind. Ray Wylie Hubbard is quoted as saying “He scares the living bejesus out of me, as he writes from a place only a true poet knows, and channels ancient mountain tones from dark overgrown hollows where ghosts and spirits moan and plead their cases to the devil.”

In his songs, lines such as “The Florida sunshine baked my bones All my life I been cold. Bronchitis, Winston cigarettes, I laid in bed alone.” and “If your dog tells you what to do and his lips aren’t moving, don’t do it” show the range of both stark poetic reality and the wit and wisdom in his writing. Lucinda Williams says of him, “Malcolm Holcombe is an old soul and modern day blues poet. He is a rare find.”

Holcombe has shared stages with Merle Haggard, Richard Thompson, John Hammond, Leon Russell, Wilco and Shelby Lynne.

Steve Earle, Emmylou Harris have appeared on his records, Iris DeMent collaborated with him and sings on all the songs on his most recent release Come Hell Or High Water.

I’ll leave it to fellow songwriter David Olney who sums up the honesty and integrity of Holcombe’s songs. “I think for most songwriters, songs are like clothing. Malcolm’s songs are his skin.

They are a direct expression of who he is as a man.”

Essential listening: Pitiful Blues (2014), The RCA Sessions (2015), Tom Drink The Rain (2011), Come Hell Or High Water (2018) 71

SLY AND THE FAMILY STONE STAND! EPIC

Billy Pinnell

CLASSIC ALBUM

W

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hile recently watching the director’s cut of Woodstock I marvelled at the performance of Sly And The Family Stone while experiencing a certain sadness at their imminent demise. In his excellent Aquarius Rising The Rock Festival Years, Robert Santelli said this, ‘the performance of the day and quite possibly of the entire festival was that of Sly and the Family Stone.

Sylvester Stewart (Sly Stone) and his band had been revving audiences up all summer.

Sly ran his life and his music at high speed and used an audience frenzy as fuel for his act. At Woodstock, the dashing front man had a gathering of almost a half-million young people from which to garner strength.

Just a few hours before the sun was to shine, Sly Stone came on stage donned in a white and mauve fringed outfit. The night’s darkness dramatised both the performer and also the excitement that surrounded the stage. Four hundred thousand souls were up on their feet dancing and clapping their hands’.

With their fusion of pop, soul, jazz, rock, funk and brassy R&B delivered with a political edge, the multi-racial band burst onto the music scene in the late 1960’s with a sound that predated funk and disco.

They were the first major American rock group to have a racially integrated male and female line-up. Their psychedelic soul-rock hybrid changed the sound of Motown in the early 1970’s when producer Norman Whitfield did a ‘Sly Stone’ on The Temptations hits ‘Cloud Nine’, ‘Psychedelic Shack’ and ‘Ball Of Confusion’.

Frequent sampling of their music on rap and hip-hop recordings has kept their music alive long after the band’s demise.

Sly And The Family Stone were formed and led by musical visionary Sylvester Stewart a singer, songwriter, keyboard and guitar player and producer who had worked as a DJ at a San Francisco radio station and at Autumn Records where he wrote and produced hits for Bobby Freeman and The Beau Brummels. He also produced and engineered the first single for Grace Slick’s pre-Jefferson Airplane band The Great Society.

In 1966 Stewart formed a band, The Stoners, with his guitar playing brother Freddie and a female trumpet player Cynthia Robinson. Soon after, he extended the line-up recruiting his cousin, bass guitarist Larry Graham, and long-time friend Jerry Martini who played sax and Jerry’s cousin drummer Greg Errico.

With the addition of Sly’s sister Rose on electric piano, Sly And The Family Stone as they now called themselves headed for the San Francisco club scene where they immediately began to attract attention.

Their unusual instrumentation - rock bands with horns like The Electric Flag, Blood, Sweat & Tears and Chicago were not yet on the scene - and unconventional sound soon saw them secure a recording deal with Epic Records.

Released in 1967 their debut album appropriately titled A Whole New Thing failed to set the charts on fire. The title track of their second album, ‘Dance To The Music,’ released in 1968 gave the band their first top ten single while the album made it into the top half of the charts with added support from the burgeoning FM radio formats on the West Coast. Their third album Life wasn’t a hit but the follow-up, Stand!

(1969), their fourth release in two years, gave the band their first million-seller.

At least five tracks on Stand! became classic Sly And The Family Stone recordings, four of them making the top ten on the singles chart. ‘Everyday People’ was a plea for tolerance regardless of race, sex or position (‘we got to live together’) it popularised the expression ‘different strokes for different folks’. It’s B-side ‘Sing a Simple

BASEMENTDISCS [

NEW IN NOVEMBER * available on vinyl LP

• Song’ - featuring a three-pronged vocal attack from Sly, Larry Graham and Cynthia Robinson whose gospel roots are exploited to great effect - would become a disco favourite. ‘Stand!’ another hit single encouraged listeners to insist on fair treatment (‘don’t you know you are free’.) It’s B-side ‘I Want To Take You Higher’ was re-issued as an A-side when Ike and Tina Turner released a cover version.

The album’s most overtly political track ‘Don’t Call Me Nigger, Whitey,’ an assertion of the black man’s entitlement to respect, was aimed equally at black and white intolerance. The arrangement is enhanced throughout by Freddie’s urgent, unrelenting wah-wah guitar.

‘Somebody’s Watching You’ has a melodic jazz feel highlighted by organ and brass fills. The most ambitious track was the fourteen-minute instrumental jam ‘Sex Machine’ that once again featured Freddie’s multi-layered guitar excursions and some self-explanatory vocal effects from Sly. The final track ‘You Can Make It If You Try’ a funky workout with Cynthia and Sly repeating the title was an encouraging conclusion to Stand! which would remain in the album chart for two years selling over three million copies.

Released at the height of Hippiedom, Stand! reflected perfectly the social issues embraced by the counter culture in the late 1960’s in the US: racial discrimination, social injustice, the Vietnam War. The songs were full of optimism exuding hope for the future.

Whether Sly foresaw the Hippie ideal as a pipe dream we’ll never know. Instead of optimism, the band’s follow up album There’s a Riot Goin’ On suggested a dark hopelessness that Sly and many other people were feeling in the early 1970’s.

After two more albums, Fresh (1973) and Small Talk (1974) Sly’s insurmountable personal demons got the better of him.

Let’s hope the man who inspired artists such as Miles Davis, George Clinton, Michael Jackson, Prince, Chuck D has found peace and happiness in his later years.

ALAN PRICE 'Between Today & Yesterday' (remaster of a classic) • NICK CAVE & THE BAD SEEDS 'Ghosteen' • BOB DYLAN 'Travellin' Thru, 1967: The Bootleg Series V.15’ (3CD) * • JEFF GOLDBLUM 'I Shouldn't Be Telling You This' * • JEFF LYNNE's ELO 'From Out of Nowhere' * • JOSH ROUSE 'The Holiday Sounds of...' * • KEITH JARRETT 'Munich 2016' • KING CRIMSON 'In The Court of the Crimson King' (50th Anniv. Ed) (3CD 2019 mixes + bray w. new mixes & 5.1 surround mix

by STEVEN WILSON) • MAVERICKS 'Play the Hits' * • MICHAEL KIWANUKA 'Kiwanuka' * • MIKE ZITO 'Tribute to Chuck Berry' • KYLE EASTWOOD 'Cinematic' • ROLLING STONES 'Bridges to Buenos Aires' (DVD,BR,CDs) • JOE HENRY 'The Gospel According to Water' * • JOHN McLAUGHLIN/ZAKIR HUSSAIN 'Is That So' • THE BAND 'The Band: 50th Anniversary' (2CD or2LP, or Super Deluxe box) • JIMI HENDRIX 'Songs For Groovy Children: The Fillmore Concerts’ (5CD) • LEONARD COHEN 'Thanks for the Dance' * • MICHAEL NESMITH & RED RHODES 'Cosmic Partners: The McCabes Tapes' • THE PERNICE BROS 'Spread the Feeling' * • PINK FLOYD 'The Later Years 87-2019' (18CD) • THE WHO 'Who' (all new Who) * • BLUE NILE 'A Walk Across the Rooftops', 'Hats', 'Peace at Last' (Ltd Vinyl) • V/A: COME ON UP TO THE HOUSE: WOMEN SING WAITS (feat.Aimee Mann, Shelby Lynne & Alison Moorer, Patti Griffin, Angie McMahon et al)

NEW RELEASES DECEMBER

• FRANK ZAPPA 'The Hot Rats Sessions' (6CD)

CHECK OUR WEBSITE FOR EXPANDED NEW RELEASES LISTS!

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BASEMENT DISCS HIGHLY RECOMMEND MICHAEL KIWANUKA ‘Kiwanuka’

On ‘KIWANUKA’, UK soul artist, MICHAEL KIWANUKA’s 3rd release, takes the foundations he’s laid out before and elevates every element to a gloriously glossy new level – like a fresh gift from a previous generation. Packed with vibrating soul and lush textures, it’s a recipe everyone will be looking to copy but no-one will be able to master like the man himself.

LEONARD COHEN ‘Thanks for the Dance’

The record was developed by Cohen’s son Adam and saw him fulfilling his father’s wish to complete the “bare musical sketches” that he left behind from his final album ‘You Want It Darker’. In doing so, Adam recruited the likes of Spanish guitarist Javier Mas (Leonard's long time touring partner), Damien Rice & Leslie Feist provide vocals, while Richard Reed Parry of ARCADE FIRE plays bass & Bryce Dessner of THE NATIONAL plays guitar.

JOE HENRY ‘The Gospel According to Water’

Born post serious health issues, in Joe’s words... “These recordings are raw and wirey and spare because the songs insisted they be. But I believe them to be as wholly realised––as “produced”––as anything I’ve touched, as well as being deeply and fundamentally romantic: in love with life, even when that life founders and threatens to disappear; lustfully aglow, not in spite of the storm but because of one.”

V/A ‘COME ON UP TO THE HOUSE: WOMEN SING WAITS’

Fabulous songs by Tom, sung by fab women includ. AIMEE MANN, SHELBY LYNNE & ALISON MOORER, PATTI GRIFFIN, ANGIE McMAHON, et al.

V/A ‘IF YOU'RE GOING TO THE CITY: A Tribute to Mose Allison’

A tribute to the legendary American jazz and blues pianist, singer, and songwriter. Featuring an all-star cast including.

JACKSON BROWNE, CHRISSIE HYNDE, IGGY POP, BONNIE RAITT, TAJ MAHAL, ROBBIE FULKS, BEN HARPER AND CHARLIE MUSSELWHITE, RICHARD THOMPSON, PETER CASE, DAVE ALVIN AND PHIL ALVIN.

BOB DYLAN ‘Travellin' Thur, 1967: Bootleg Series Vol.15’ (3CD or 3LP)

Out-takes from the classic 'John Wesley Harding' & 'Nashville Skyline' albums. Includes 25 tracks recorded with JOHNNY CASH & 1970 collaborations with EARL SCRUGGS.

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CD: Feature Bob Dylan’s Country Life

In a Nashville studio with Johnny Cash!

BY MICHAEL GOLDBERG Bob Dylan had vanished. In the midst of a 1966 world tour in which he played his recent rock music with the future members of the Band, while taking a break in Woodstock, New York in July of that year, he fell off his motorcycle, sustaining injuries to his neck.

I was 13 at the time, a big fan of Dylan’s rock sound, but I don’t recall knowing about the accident back then. Nor did I know it when Dylan began working with his backing musicians, recording the infamous “Basement Tapes.”

What I eventually did know, when I heard John Wesley Harding in December 1967, was that Dylan had changed, yet again. He had abandoned rock music for a whole different sound. And what struck me as particularly odd was that while most of that album sounded like a throwback, hillbilly mountain music, two songs at the end of the album – songs that I thought seemed so out of character they belonged on a different record – were country.

Those two songs – “Down Along the Cove” and “I’ll Be Your Baby Tonight” – were unlike anything else Dylan had recorded that I had heard. Country? How could hipster Bob Dylan be into country? My 13-year-old self thought country was lame, man.

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After I got over the shock, I realized that I really dug those songs, and thus I had to confront my anti-country prejudice. Before long the Byrds would release Sweetheart of the Rodeo and the Stones would start including country songs on their albums.

Country-rock would become a new genre.

As we all know, Dylan followed up John Wesley Harding with Nashville Skyline, an entire album of country music. The shocker on that one was Dylan’s voice. He’d traded in the nasal sarcasm typified by “Like A Rolling Stone” for a smooth baritone croon. Prepped for this new change by those two songs at the end of John Wesley Harding, I immediately embraced Nashville Skyline and became an ardent defender of Dylan’s country sound. Leading off that album was a marvelous duet with Johnny Cash on an old Dylan song, “Girl From the North Country.”

Dylan had first met Johnny Cash at 1964’s Newport Folk Festival, and they were mutual fans. In his book, Cash: The Autobiography, Johnny Cash wrote, “I had a portable record player that I’d take along on the road And I’d put on (The) Freewheelin’ (Bob Dylan) backstage, then go out and do my show, then listen again as soon as I came off. After a while I wrote Bob a letter telling him how much of a

fan I was. He wrote back almost immediately, saying he’d been following my music since (1956’s) ‘I Walk the Line,’ and so we began a correspondence.”

Following Cash’s death in 2003, Dylan wrote, “In plain terms, Johnny was and is the North Star, you could guide your ship by him – the greatest of the greats then and now. Truly he is what the land and country is all about, the heart and soul of it personified and what it means to be here; and he said it all in plain English. I think we can have recollections of him but we can’t define him any more than we can define a fountain of truth, light and beauty. If we want to know what it means to be mortal, we need look no further than the Man in Black. Blessed with a profound imagination, he used the gift to express all the various causes of the human soul.”

In his 2004 autobiography, Chronicles: Volume One, Dylan wrote, “Johnny didn’t have a piercing yell, but ten thousand years of culture fell from him. He could have been a cave dweller. He sounds like he’s at the edge of the fire, or in deep snow, or in a ghostly forest, the coolness of conscious obvious strength, full tilt and vibrant with danger.”

Dylan’s new three-CD set, Travelin’ Thru (Featuring Johnny Cash): The Bootleg Series Vol. 15, compiles alternative takes and outtakes from John Wesley Harding and Nashville Skyline, includes three recordings Dylan made with Earl Scruggs (“East Virginia Blues,” “To Be Alone With You” and “Honey, Just Allow Me One More Chance”) and three songs Dylan sang on “The Johnny Cash Show” including his duet with Cash on “Girl From the North Country,” but the heart of the set are 25 songs and partial songs in which Dylan duets with Cash, all of which recorded during a twoday session in Nashville that took place on February 17 and 18, 1969 in Columbia’s Studio A. Dylan was in Nashville recording Nashville Skyline at the time.

The songs were recorded for a proposed Dylan-Cash duet album, but at least a third session was needed and that never happened; until now, the only recording from the sessions officially released was “Girl From the North Country.”

I love these recordings. Others have complained that Dylan and Cash’s voices don’t work well together. I totally disagree, and if you dug “Girl From the North Country,” I think you’ll agree with me.

A highlight here is “Wanted Man,” which Dylan likely wrote with Cash in mind, and which Cash played on February 24, 1969 at San Quentin State Prison in California; “Wanted Man” led off the album recorded during that show.

Dueting on “Wanted Man” in Nashville eight days before the San Quentin date, Dylan and Cash were in a great mood. The premise of the song is that the “Wanted Man,” is wanted everywhere for breaking the law (“Wanted man in Indiana/ Wanted man in Ohio/ Wanted man in Texarcana/ Wanted man in Mexico/…

Wherever you may look tonight/ You may see this wanted man.”). He’s also wanted by a bunch of women for two-timing them, or leaving them behind, or both (Wanted man

by Lucy Watson/ Wanted man by Jeannie Brown/ Wanted man by Nellie Johnson…)”. As they sing the song, Dylan forgets some of the lyrics, and then towards the end Cash starts adlibbing cities, finally throwing out “Hibbing” (where Dylan grew up) with Dylan laughing.

The session band includes an original member of Cash’s first band, the Tennessee Two

(Marshall Grant, bass) and two musicians who later played with Cash (drummer W.S. Holland, 1960 and guitarist Bob Wootton, 1968). Also on guitar, the great Carl Perkins, whose song “Matchbox” (recorded by the Beatles in 1964) is covered here.

There are two beautiful versions of “I Still Miss Someone,” the song Dylan and Cash sing in the unreleased Dylan film, “Eat the Document.” The two men also pay tribute to Jimmie Rodgers with “Jimmie Rodgers Medley No. 1” and “Jimmie Rodgers Medley No. 2,” and sing ”Careless Love,” “Guess Things Happen That Way,” “Ring of Fire” and others.

Most of the songs that Dylan and Cash sing together are classics. They are songs that some of us grew up on (“Matchbox,” “Don’t Think Twice It’s Alright,” “Big River,” “One Too Many Mornings,” “I Walk the Line,” “This Train

Is Bound For Glory,” “Mystery Train”), and they’re in the history books.

The spirit of these recordings is a couple guys, clearly equals, sitting around having a ball jamming on some of their favorites – two of the world’s greatest musicians having the best of times.

It never happened again. This was the only time Dylan and Cash collaborated in the studio. If that means something to you, than you need to hear these sessions, and if you’ve gotten this far in this essay, I’d say it does mean something to you.

Michael Goldberg, a former Rolling Stone Senior Writer and founder of the original Addicted To Noise online magazine, is author of three rock & roll novels including 2016’s “Untitled.”

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ARTHUR OR THE DECLINE AND FALL OF THE BRITISH EMPIRE

The newly released box set also contains the ‘lost’ Dave Davies solo album.

By Brian Wise Arthur Or The Decline And Fall Of The British Empire might not be the best known Kinks album but it was not only ground breaking in many ways. Following on from The Village Green Preservation Society this seventh Kinks album, released in October 1969, also confirmed Ray Davies’ status as one of the great songwriters.

Originally conceived as a radio play, which was never produced, Arthur was based on the story of a Londoner’s decision to emigrate to Australia in the aftermath of Word War 2 (when you could get a fare out here for 10 pounds). It was inspired by the real-life story of Ray and Dave Davies’ sister and her husband. Of course, the album also features the song ‘Australia,’ which may or may not be tongue in cheek. Many of Arthur’s themes are startlingly applicable again as Britain grapples with Brexit and its relationship with Europe.

As a concept album Arthur pre-dated Tommy (and may have actually inspired that work) and it was recorded almost simultaneously with a Ray Davies solo album, prompted by the success of Ray’s single ‘Death of A Clown.’

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While Ray’s project was shelved at the time and he didn’t release a solo album until 1980, the ‘lost recordings – plus bonus tracks - are now available in the newly released Arthur box-set, along with the five previously unreleased tracks, including ‘The Future.’

Included in the anniversary edition are 4 CDs comprising of 81 tracks in total and 28 previously unreleased versions of the songs.

There are newly remastered versions of the original album with mono and stereo single versions, B-sides, alternate mono and stereo mixes, rehearsal tracks and BBC mixes.

The box set also includes Ray Davies’ compiled medley of unreleased demo tracks, remixes and other curios. The 68-page book featuring extensive essays and new interviews with Ray Davies, Dave Davies and Mick Avory gives added significance to what has been an overlooked album. (For collectors, there are also four 7” singles from the album to be found - ‘Drivin’, ‘Victoria’, ‘Shangri-La’ & ‘Hold My Hand’ (Dave Davies solo) - all reproduced with original international artwork).

After the success of The Village Green Preservation Society re-release when I spoke to the charming Mick Avory, I find myself on the line to the equally friendly Dave Davies. I suggest that is it interesting how a production like the new box set can put an entirely new light on an album.

“It is,” he agrees. “I think it’s important to connect it and really into the music. To give them extra tracks and extra information and a bit more back story as to what was going on at the time. There’s a lot of stuff that goes on during the making of an album. Also, with my solo stuff being on it as well it’s still stuff that’s was around the time and going on in the background of Arthur.”

“It flows quite neatly from a creative point of view from Village Green and Arthur,” continues Dave, “because it was all pertinent to the time and what we were going through.

The family and the reflections of where we were: that time in the ‘60s where we were socially. There’s a lot of information in there: a lot of them political and social ideas, reflections of what was going on when we were kids really. We read all the war stories about, the second world war and what have you.”

Arthur was based on an actual Davies family story of the time and it’s important to remember how many British migrants (10 Pound Poms) came to Australia in the 1950s and ‘60s. It was a common experience for many British families.

“It was a big event for us,” says Dave of the departure of his sister, “because being in a working-class family and in those days, immigration was really a big thing, not like nowadays. In those days immigration was really serious and it kind of broke our family up a little bit because of my sister and her husband - Rose and Arthur - and her son called Terry (he still lives in Adelaide by the way).”

“Terry, we hoped to be growing up within the band because it was the beginning of the Kinks,” he continues. “It was a touring band, a performing band and we always thought Terry would be a part of that. But Arthur insisted on going to Australia much to our upset and it was an interesting time emotionally for us.”

“Arthur really wanted to change his life for the better and he did,” he continues. “I mean a lot of people that went to Australia in those days had wonderful lives and there was those who don’t. Arthur was very determined and very stubborn about what he was going to do. Terry was a very bright guy and, as I said,

I thought he would be involved the Kinks career as we were progressing and after a year. He was drafted into the army which I thought was a bit sad. But that was the time of the Vietnam war.”

“I’m going to have fun with that song,” responds Dave when I mention that there are different versions of the song ‘Australia’ included. It’s a bit of a love-hate, sarcastic tone. I’m still not a fan of ‘Australia.’ I’m very excited about Arthur. I think it didn’t really get the recognition it deserved when it came out, I don’t think.”

If you want to get a snapshot of post-war English life, you cannot do better than listen to The Village Green Preservation Society and Arthur.

“I think that’s true,” agrees Dave. “They do kind of grow closer together about what’s happening in England in the late ‘60s and the lead up to it from us as kids growing up in the ‘50s and listening to our family and old war stories and terrible stories and tales and funny and sad and tragic. So, we were recalling those post war emotions for all of us.”

Was there anything that he and Ray were looking at, reading or listening to that affected the descriptions of English life in the songs? More than any other English band, The Kinks managed to capture a unique view of English life.

“I think we were both sensitive to our environment,” he replies, “and, as I said, growing up and all these stories. I think you learn a lot just by listening to people; when you listen to people’s stories about their lives and what happened to them and how they feel about it. I think both Ray and I have always been sensitive to our environment and people around us. So, I think it was kind of like a very organic thing really.”

Arthur was due to be produced as a television musical, but Granada Television scrapped the idea.

“I don’t know why,” says Dave. “Ray would know more about the inner story of it but for

one reason or another, TV company dropped the project. I think maybe they were a little scared of it and didn’t quite know how it was going to shape up. The music, I thought, was good enough to shine through on its own anyway. So, at the time I thought whatever they do about the TV play, the story’s got to be told in musical form anyway.”

The subtitle of the album is The Decline and Fall of the British Empire. It’s interesting to listen to the album now, given what’s going on with Brexit in England at the moment.

“Yeah, I mean, there’s a lot of confusion,” says Dave. “You know everybody’s got a point of view, everybody’s got an opinion. It’s a difficult time, I think globally. An interesting time for humanity: here in England and in America and also, it must be down under as well. Very interesting times.”

Interestingly enough, Village Green and Arthur were concept albums released before The Who released Tommy. Was there any connection?

“It’s really curious, isn’t it?” laughs Dave.

“But Pete Townshend has always celebrated The Kinks as being a big influence. They’re completely different concepts but I will say that both Ray and Pete Townshend at the time had a mutual friend and he used to go backwards and forwards and there must have been some dialogue that went astray some in the wrong way. So, who knows, but I’m just really glad that Arthur is finally out again.”

The other thing that’s worth celebrating, of course, is the great lost Dave Davies album which is included in the box set and which is much rockier than Arthur.

“These were recordings I did around and about the same time,” explains Dave, “and because the record company wanted me to put out a solo album. I was very excited about it at first, but my interest started to wane when I realised how much pressure they were putting me under and I ended up not liking it.

“I’m very, very excited that they thought to include this on the package. Sonically, I think these will stand the test of time and they capture moments in time as well. So, it’s very exciting, the whole project.

What was it that he didn’t like about it originally?

“That’s why I didn’t like school as a kid because I don’t like being told what to do,” he replies, “and I felt that the record company management were trying to force me to do something I didn’t really feel like I wanted to do it. But I’m glad the recordings lasted and are out now.

“Listening to it back made me realise, in all modesty, how good the recordings were.

And thinking, ‘Wow. We really got something here. Something should come out now and I’m very excited about it.”

“I had a couple of singles that I put out as well,” recalls Dave, “so, I was riding on a bit of a wave there. I didn’t like the pressure.”

Having mentioned to Dave that The Who are still touring and have a brand-new album coming out, I wonder if he and Ray might get back together for a Kinks reunion given the recent box sets.

“Well, there’s no firm plans,” says Dave, “but me and Ray are getting on really well and we’ve been trying to forage out some archived tapes of The Kinks that we haven’t used yet, that have been sitting around.

We’ve got a few new ideas when we’re working together, so who knows, there might be something coming up soon.”

Arthur Or The Decline of The British Empire is available now in box set format through BMG.

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CD: Feature

CD: General

BY BRIAN WISE

FAMILTON, BARRETT, SMITH, PATIENCE, HYLANDS

BEN LEVIN

SHAWN COLVIN

STEADY ON SLC RECORDINGS

BEFORE ME VizzTone/Planet

It’s difficult to believe that Shawn Colvin’s debut album Steady On is now 30 years old.

“It is incredible,” says Colvin when I meet her in Nashville during the Americana Festival to talk about the re-release of the album in a specially re-recorded acoustic version.

“I felt like, ‘Oh that’s cool’ for a while,” she adds. “Now, I’m feeling very nostalgic about those times and that moment in my life and my career because it was my first record. I never thought I’d make a record. I wanted to, of course, my whole life. But this was a dream come true that had happened.”

While she might not have had any expectations for Steady On at the time of its recording - apart from feeling grateful to have made it - the album went on to win a Grammy in 1991 for Best Contemporary Folk Album and quickly established her name. (Seven years later she won two more Grammys for ‘Sunny Came Home’ off A Few Small repairs and she has also been nominated another seven times). Prior to Steady On, Colvin had been living in New York city, playing in Buddy Miller’s band and also doing backing vocals for Suzanne Vega (that’s her on Vega’s hit song ‘Luka’). In 2016, Colvin was given a Trailblazer Award at the Americana Honors & Awards.

Colvin says that while she might have been a seasoned musician by the time she recorded Steady On originally, “what I wasn’t though was a seasoned songwriter.”

“It took me a long time to write songs,” she recalls. “That was a corner turner in my career to get to that. It’s hard to believe and I always felt, and I still do that it truly was my dream come true and if I’d never made a record after that, it would have been enough. I reached a goal that I only dreamed of, which was to make a record but to also write the songs.”

“I wasn’t banking on anything like that,” responds Colvin when I add that her debut album won a Grammy. “I was very proud of the record but who knew that something like that would become of it? I didn’t.”

Colvin ‘reimagined’ her debut release by recording it at Austin’s Arlyn Studios with head engineer Jacob Sciba (Steve Earle, Dierks Bentley, Willie Nelson). The original recording featured a stellar array of musicians. Apart from John Leventhal, who played guitar, bass, mandolin and more, there was Bruce Hornby on piano, Hugh McCracken on guitar, Rick Marotta on drums, T Bone Wolk on bass and Soozie

The callow looking 19-year-old sitting on the album cover staring into the lens is not only still a university student, but is also a dedicated student of the blues piano. On his second album, the brilliant teenager showcases his singing, songwriting and piano skills, whilst also paying homage to the blues stylists of the past.

Levin has clearly studied and been inspired by the New Orleans rhythm’n’blues piano tradition, and in particular Fats Domino. The title track, one of several originals, is steeped in Domino’s easygoing vocals and barrelhouse technique, and ‘Creole Kitchen’ salutes the playing of Professor Longhair. He has the support of some heavy hitters on the covers; the rollicking take of Freddy King’s ‘Lonesome Whistle Blues’ features 93-year-old Rock and Roll Hall Of Fame drummer Phillip Paul who happened to play on King’s recording way back in 1961. Bob Margolin and harp ace Bob Corritore are also on hand for much of the album, the trio exchanging riffs on James Cotton’s ‘Lightnin’’, and the Bobs trade fiery licks behind Levin’s pounding ivories on Buddy Griffin’s R&B chestnut ‘I Wanna Hug Ya, Kiss Ya, Squeeze Ya’. Big Bill Broonzy’s ‘I Feel So Good’ is given a boogie-woogie workover, and there’s a delightfully faithful rendition of Jay McShann’s Kansas City blues ‘Confessin’ The Blues’. He may still be too young to frequent blues bars in his native Cincinnati, but Ben Levin has already grasped America’s piano blues traditions with considerable aplomb.

TREVOR J. Liquid Damage

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Tyrell on fiddle, along with Suzanne Vega and Lucy Kaplansky on backing vocals. The new recording features just Colvin and guitar.

“I was inspired by a Rodney Crowell’s Acoustic Classics,” explains Colvin.

“He recorded a bunch of his songs just acoustically and my manager actually suggested it; she said, ‘Why don’t we take a page from Rodney’s book?’ It seemed to fit.”

Colvin recalls that prior to Steady On she had been have been working with producer John Leventhal and “writing lyrics to his fully produced pieces.”

“I was writing pop music and try to be clever and Steely Dan-esque,” she says, “and I knew it wasn’t right for me. Then it kind of came to me, it kind of a ‘duh’ moment where I went ‘You’re an acoustic singer songwriter type.

The only problem is you don’t write songs.’

“So, I said to John, I’m going to take what you hand me next time and I’m going to deconstruct it down to just me and the guitar and see what happens. That was ‘Diamond in the Rough’ [also the title of her 2012 autobiography] and I lyrically found a way immediately when it was just me

and the guitar and everything else kind of sprang from that. So, it made sense to do an acoustic version of the record because the litmus test for me with all the songs we wrote was, can I play this alone and not need a band.”

“Well, generally in my gig life play solo acoustically and I do quite a few of those songs,” responds Colvin when I ask how it feels to play the songs acoustically. At a showcase gig in the City Winery during the Americana Festival she played the entire album and invited Buddy Miller up as a guest on several songs.

“Some of them I haven’t done for a long time,” she replies, “so I was little nervous about re-learning them but they hold up for me. Like I said, I’ve started to become very nostalgic about it. It means a lot to people that record and that makes me emotional as well. It reminds me of where I was personally and musically, it reminds me of New York. It reminds me of that time in my life, which is pretty magical.”

Steady On: 30th Anniversary Edition is available now.

CHARLEY CROCKETT

THE VALLEY Thirty tigers / Cooking Vinyl Australia

Descendant of legendary frontiersman Davy, traveling troubadour and heart surgery survivor – Charley Crockett sure has a big back story. The most pleasing factor is of course his music, a lackadaisical country blues sound with a New Orleans soul swing to it, which he’s been slowly perfecting across six albums. Last year’s Lonesome As A Shadow was a real gem and The Valley again delivers, this time with a more traditional country sound.

It feels like a ‘taking stock’ kind of record, indeed it was recorded just before he underwent his two heart operations. Right across the album he’s singing of living on ‘Borrowed Time’, his transient lifestyle (“Motel Time Again’), his Texas origins (‘The Valley’), lost love in ‘If Not The Fool’, lost opportunities and endless possibilities.

Crockett’s greatest asset, other than his beautiful drawl of a voice, is his ability to blend musical styles. A blues lament segueing into a classic country ballad and that soulful undercurrent that ties it all together. Most tracks clock in under three minutes, adding to the diary entry feel of The Valley.

Crocket himself best summarises the album with its extended title – Charley Crockett Sings The Valley And Other Autobiographical Tunes. It’s a heart and mind laid bare, a bookmark ahead of a new chapter in the life of this prolific and highly talented songwriter and musician.

CHRIS FAMILTON

COLLINS FISHER PETERS

MOON Soundshed Music

Three friends, musicians, set up their respective gear in the guitarist’s studio, press record and let the muse take them where it will. Putting aside his usual rhythm guitar, Ian Collins leaves the guitar playing to Stewart Peters while he indulges his curiosity about his new synthesiser’s possibilities, augmenting the pulsing progressions that appear with some bass guitar, while drummer Eddie Fisher catches those pulses and gives them a subtle percussive edge. “This was an instantaneous collaborative process,” Collins’ liner note suggests, “that pretty much came out of the air.” And so these three pieces are, each exploring those possibilities without any of the urgency a young trio might have imposed, or any dazzle of technique or technical wizardry.

They’re mood pieces but not mere aimless “New Age” noodling.

They’re contemplative “sonic inner landscapes”, as Collins goes on to suggest, “like soundtracks to inner space, hence the titles.”

The title track meanders with intent for a full 22 minutes 21 seconds, while the other two clock in at 10 minutes 29 seconds – ‘Black Moondog’ – and seven minutes nine seconds – ‘Nova’ – respectively. You could easily imagine them accompanying a documentary being presented by physicist Brian Cox, recalling something of the more exploratory post-Syd Barrett early Pink Floyd or Tangerine Dream.

And why not?

MICHAEL SMITH

DAN BRODIE

FUNERÁRIA DO VALE Independent

For a decade now, Dan Brodie has been a master at skirting around the edges of a number of musical genres. He’s taken from rock, blues, alt-country and rockabilly, combining them all into his own decidedly Australian take on rock ’n’ roll. It’s the sound of cold beer and back porches in the summertime, sweaty inner city pubs and car stereos on the open road.

His last release was a covers set and it saw him creatively reimagining all manner of artists in his own dark and bruised style.

The sound of that record carries over into much of the music on Funerária Do Vale though amid the country noir there are some jolts of wigged out psych rock such as the swirling ‘Un Deux Trois Saucisson!’ and dark rockabilly, wail and chug on ‘Post Millennial Blues’.

Opener ‘When We Turn To Dust’ sets the scene for a number of songs that explore the theme of loss and its echoing ramifications.

It’s a beautiful track with a late-night bar and Bad Seeds piano vibe. It’s Brodie at his most reflective and in terms of his songwriting, right at the top of his game. ‘I’ve Been Here Before’ is a lighthearted, Stones’ish slide guitar romp while ‘Drugs Have Gone’ is Grandaddy jamming with Spiritualized. Brodie pairs two quite different drinking songs on the album. ‘We’ll Never Drink Again’ reflects on a broken relationship over a gentle rhythm and some banjo and trippy guitar effects while ‘Getting Fucked Up (Again)’ is a loose honky tonk ode >>> 79

CD: General

CD: General

FAMILTON, BARRETT, SMITH, PATIENCE, HYLANDS

FAMILTON, BARRETT, SMITH, PATIENCE, HYLANDS

>>> to inebriation featuring Molly Jean Morrison.

There’s a wonderful range across this album, consummate songwriting and some fine playing. You sense that Brodie is a musical traditionalist at heart but a rebel spirit and the temptation to infiltrate his songs with fascinating sonic twists and turns of phrase make this an endlessly rewarding listen.

CHRIS FAMILTON

DORI FREEMAN

Fans of Linda Ronstadt through to Eilen Jewell, Courtney Marie Andrews and local talent Melody Pool will find plenty to revel in on Freeman’s most cohesive and gently beguiling release to date.

CHRIS FAMILTON

FIONA JOY HAWKINS & REBECCA DANIEL

THE LIGHTNESS OF DARK Little Hartley Music/CPI Distribution

EVERY SINGLE STAR Blue Hens Music

a piece – ‘Interwoven Threads Of Chance’ – in their own right.

Rebecca composed six of the 11 tracks, Fiona five, with the CD sensitively produced by Mara’s Llew Kiek. I should mention one other contemporary artist/act that influenced the composition and performance of the opening track, ‘Heavenly Voices’. Rebecca seems to have always found solace in Pink Floyd’s ‘Celestial Voices’, and particularly the organ work of keyboards player Rick Wright, in whose honour she plays organ on her composition. You don’t need to ponder grief to appreciate the sheer, poignant beauty these two remarkable women have woven out the air for your listening pleasure.

MICHAEL SMITH

HAZMAT MODINE

BOX OF BREATH Jaro Records/Planet

The evolution of Dori Freeman continues on this fine third album from the Southwest Virginian songwriter. Her first was rooted in Appalachian folk but since then she’s added studio polish and incorporated wider influences (sixties pop, jazz balladry) and a lush and more nuanced sound.

Teddy Thompson has produced all her albums and he’s again applied a good balance of modernity and preservation of the acoustic origins of the songs.

All ten songs dance on effortless and often pop-leaning melodies, from the kd lang-sounding country-jazz shimmer and ache of ‘All I Ever Wanted’ to the light-stepping ‘Like I Do’ and onto the classic country duet sound on ‘2 Step’. Lyrically Freeman ponders motherhood and the universal difficulties of balancing a relationship with being out on tour. She’s an honest and straightforward lyricist, able to concisely distil her thoughts and ideas into song. Where she really excels though is her way with melody and writing a song where everything feels like it’s in exactly the right place.

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A CD in which the liner notes Leonard Cohen, Nick Cave, Tchaikovsky, Jethro Tull’s Ian Anderson and John Lennon are cited suggests its creators have thought long and deeply about what they themselves have composed and the central subject on which they have chosen to hang this quietly sublime collection of songs. That subject is grief, not something we generally feel comfortable discussing though we all experience it at some point in our lives, but in the hands of classically-trained composers pianist and singer Fiona Joy Hawkins and violinist Rebecca Daniel, that subject is explored with such subtle, contemplative, intelligent beauty that it should readily ease the most hurt of hearts. There’s a solo piece – Fiona’s gorgeous ‘Ghosts Insanity Angels’, citing Cave’s observation that “the spirit guides” of its title “lead us out of the darkness” – but the majority of The Lightness Of Dark is in duo mode, composed either

by Fiona or Rebecca, whose haunting ‘Elegy’ is a sound poem dedicated to her late father, or is performed with The Kanimbla Quartet, who also get to play

into a dazzling musical gumbo.

Take album opener ‘Crust Of Bread’, where a hypnotic Malian riff is transformed by New Orleans styled horns and Balkan rhythms before settling into a blazing blues riff; it’s outrageously good.

The title track is a simmering slow blues punctuated by the balafon and a slow-picked banjo, and lyrics that hammer home the album’s overriding message on humanity and mortality. A distinct New Orleans funk feel permeates ‘Be There’, ‘In Our Home’ is an inspired re-imagining of ‘Spoonful’, and ‘Delivery Man’ evokes ‘St. James Infirmary’ with Shuman’s gut-wrenching harmonica; so many great tracks. Comes the time to pass judgement on the year’s best, Box Of Breath has ‘contender’ written all over it.

TREVOR J. Liquid Damage

THE MCNAMARR PROJECT

HOLLA & MOAN Only Blues Music

There is, in all likelihood, no other American band that so definitively captures the true meaning of roots music than Wade Shuman’s 9-piece New York collective. Whilst musical touchstones abound, and lashings of blues, New Orleans flavoured jazz and funk, calypso, Balkanova, Klezmer, gypsy jazz, and African grooves are all thrown into the crucible, what comes out is entirely original and intoxicating. Shuman has a highly distinctive Tin Pan Alley turn of phrase, part Tom Waits with a soupcon of Captain Beefheart, which along with his stunning diatonic harmonica is the band’s inspiration. Behind Shuman lies a bubbling cauldron of guitars, classic horns, a Sousaphone, idiophones and percussion, violins, and a balafon, fermenting

Sometimes you find the perfect recipe simmering right under your nose. When longtime friends Andrea Marr and John McNamara were encouraged to record as a duo, they discovered a match made in soul heaven.

On their debut joint recording, rhythms flow free and easy over 10 original tracks. They fuse individual range and phrasing like vocal bookends. Cooking up spicy soul on ‘Can You Take The Heat?’ a trio of Memphis horns joins them in the kitchen. Bluesy gospel heartbreaker ‘Cry With Me’ builds to a crescendo worthy of a classic Motown or Stax session. Accompanying

McNamara’s lead guitar: Bobby Manuel (Guitar), Ray Griffin (Bass), Willie Hall (Drums), Lester Snells (Keys and arrangements) and the fabulous horns. This collaboration between two multi award-winners was recorded in Memphis (TN) and Carisbrook, Victoria. The antipodean pairing has been applauded (and signed up) by a US label founded by Sam Phillips and co. You may be inspired to holla and moan or twirl and testify. Either way, it’s a joyous ride, right up to the final track. Sing out loud and proud with its chorus: ‘Blues has brought me here.’

CHRIS LAMBIE

JIMMY VARGAS & THE BLACK MARIAS NOIRSVILLE Independent

This “side” outing may travel as The Black Marias rather than The Black Dahlias, but on the twisted opening title track at least, singer, songwriter, guitarist and dilettante Vargas and his musical cohorts – guitarist Scott Leishman, bass player Alex Hewetson and drummer Antero Ceschin – continue to haunt the dark streets of a Raymond Chandler novel. Presley, whose tawny vocal tone Vargas recalls, could never have imagined ‘Heartbreak Hotel’ could stray so easily and darkly into that same noir scenario via a haunted rhumba beat. Lounge hasn’t sounded so like the soundtrack

to the underbelly of which the Rat Pack never let on they were a part. Forties cool school crooner jazz, ‘50s R&B, ‘60s mood pop, it’s all there, taunting us from the darker side of the street.

Vargas writes soundtracks for the movies his mind conjures up, for the novels he writes, and so with Noirsville, the opening “scene” all sparsely chiming guitar chords raked over by a fluttering flute as the protagonist admits to doing “penance for a murder he can’t recall”. A brash saxophone (courtesy “Boots” Booth here and throughout) skitters and jabs across that title track as it slinks along, Vargas ebulliently defiant one moment, retreating into shadows the next.

‘Little More Heart’ is all beat poet images from the ‘50s and ‘60s over that subtly propulsive Eric Burdon “Monterey” kind of vibe. Presley would have felt at home delivering ‘Hollywood Blonde’ or ‘Last Year’s Blonde’, though ‘Colonel’ Tom Parker would have scammed Vargas for co-writing credits for The King.

And so it goes… scenes/songs dissolve as the next emerge from the shadows. Is there a plot?

Who are these characters? Grab some popcorn, settle back and enjoy the ride. Just don’t get too comfortable… there may be a killer coming down the aisle. Roll credits as that sax honks out the final instrumental.

MICHAEL SMITH

NORTH MISSISSIPPI ALLSTARS

UP AND ROLLING New West Records

The new album from Luther and Cody Dickinson’s North Mississippi Allstars was inspired by photos on a forgotten roll of film from the ‘90s. It got the brothers and their fellow musicians back into the studio, along with guests Mavis Staples, Jason Isbell, Cedric Burnside and Duane Betts. The result is a beautifully recorded collection of songs that evoke warm Southern summer nights – the good times and the troubled times, soundtracked by sweet harmonies, deep blues grooves and some exquisite guitar playing.

They’re a band rooted in tradition but they’ve described this album as ‘modern Mississippi’ and it really is just that. Songs spark and kick with an earthy funk but it feels totally contemporary.

There are the some sweet soul vocal performances on songs such as ‘Living Free’, ‘Up and Rolling’ and ‘Peaches’ (featuring Staples), more organic blues tracks such as ‘Take My Hand’, dark and psychedelic excursions (‘Lonesome in My Home’), and fun tracks such as ‘Drunk Outdoors’. Moments where they take unexpected turns really stand out on Up And Rolling.

The opener ‘Call That Gone’ incorporates flute and gritty slide guitar to great effect, while the six and half minute centrepiece, ‘Mean Old World’ (featuring Isbell and Betts) is solid blues rock for its first half before taking flight on an exceptional Allman Brothers/ Grateful Dead chooglin’ guitar trip.

North Mississippi Allstars have once again found that balance between serious subject matter, exceptional playing and downright musical fun making this the blues album of 2019.

CHRIS FAMILTON

PAT TIERNEY

RED MOON Independent

Eighteen months in the making and recorded before he headed off on his first tour overseas, which saw him gigging around California, Red Moon is the second album from NSW North Coast-based folk-roots singer-songwriter Tierney, and listening to it, it’s pretty obvious he would have readily found an appreciative audience over there. Tierney certainly isn’t rewriting the book on soulfully plaintive singer-songwriter ballads, but he brings enough authenticity in his particular take on it to give this collection an easy likeability. His vocal timbre has that slightest of occasional cracks, giving it a mutable, restrained sense of sadness here, poignancy there as he sings of love, loss, pain and sadness.

His musical accomplices add the subtlest of support across the record, occasionally supplying the eeriest sounds to give, say, a tune titled ‘Angels’ an appropriate air of otherworldliness, while slide guitar adds another light flutter of melancholy to the mix on tracks like the gently optimistic ‘Crazy Dreams’ – “We’re all lookin’ for a better way”. Sure the clichés sometimes tumble thick and fast, but they’re delivered with such quiet, unselfconscious conviction that they come across as simple, charming homespun, folksy homilies, and isn’t that, after all, the heart of all roots music?

MICHAEL SMITH 81

CD: World Music &

CD: General

BY T O N Y H I L L I E R

FAMILTON, BARRETT, SMITH, PATIENCE, HYLANDS

PAUL CAUTHEN

ROOM 41 Lightning Rod Records

taking country in a new and intriguing direction, a welcome counterpoint to the shallow cliches of the current trend of chart-topping country music.

CHRIS FAMILTON

RUTH HAZLETON

DAISYWHEEL Independent (distributed by MGM)

Out of misery and heartache comes great art. That seems to be one of the great recurring themes of all the artistic mediums. On his new solo album, Paul Cauthen has clearly lived and by the sound of it, learned from a particularly low period in his life when he was living in Dallas’ Belmont Hotel and treating his anxiety and heartbreak with drugs and alcohol. Thankfully there was enough commitment to his music through the dark times and we’ve got this wonderful document as a result.

Cauthen is a country artist but like all the great outlaws he’s tearing at the fabric of expectations and pigeon-holing.

He’s a blend of Johnny Cash, Waylon Jennings, Jim Ford and Barry White. They flirt with the 70s dance floor as much as they live in liquor stores and late night bars. There’s a rich funk and soul foundation to the album, styles that lend themselves to the cathartic and emotional aspect of Cauthen’s songs and delivery. ‘Holy Ghost Fire’ and ‘Cocaine Country Dancing’ lay his demons on the table right from the outset while elsewhere he gets more intimate, revealing his fears on the gothic ballads ‘Slow Down’ and ‘Lay Me Down’.

‘Freak’ goes the furthest out with its foray into heavy humid funk in the vein of Parliament and Prince.

If dark and dramatic is your thing then this record should be sitting in your collection alongside another recent release in Orville Peck’s Pony. Room 41 is certainly 82

Some years ago, two young Australian folk musicians teamed up to release the album, The Bee-Loud Glade.

Kate Burke was a member of Trouble in the Kitchen and a past member of Cooking for Brides. And Ruth Hazleton was a member of Closet Klezmer.

On that album, Kate and Ruth brought “a refreshing and contemporary sound” to songs that included ‘Wee Weaver’, ‘The Cruel Mother’ and ‘Cam Ye O’er Frae France’. Since then, Kate Burke and Ruth Hazleton have continued performing and recording – together and with other people (including on Judy Small’s Live at The Artery). Now Ruth Hazleton has released her debut solo album, Daisywheel, with assistance from Luke Plumb (guitar, fiddle, piano), Oscar Neyland (double bass), Justin Olsson (drums / percussion), Paddy Montgomery (oud, yayli tambur) and Tim Meyen (cimbalom). The album contains some traditional songs, including ‘Ten Thousand Miles’, ‘Same Old Man’, ‘Walking Boss’. There is an haunting version of ‘I Wish the Wars Were Over’, with new/ additional words by Hazleton and Tim Eriksen. The album also includes Henry Lawson’s poem, Past Carin’, set to music written by Hazleton. And, in a

most welcome surprise, Ruth Hazleton has written the songs, ‘The Killing Times’, ‘Messiahs of Hate’, ‘State of the World’ and ‘Shackled’. When the late American folk singer Faith Petric was interviewed for her 90th birthday, Faith’s advice for songwriters was, “Keep it simple.

Eschew navel contemplation.

Choose themes of universal interest and concern.” Ruth Hazleton has, knowingly or unknowingly, followed that advice. As young performers, Kate Burke and Ruth Hazleton were influenced by Maddy Prior and Steeleye Span. On Daisywheel, Hazleton’s voice is strong and rich and on several songs the musical influence of Steeleye Span shines through.

Hazleton’s song ‘The Killing Times’ tells of Australia’s frontier wars (and the death and destruction that accompanied European settlement). With ‘Messiahs of Hate’, she calls out those who “espouse religious values yet continue to vilify asylum seekers, first nations’ communities [and] legislate against the rights of women and…minority groups”. And in ‘Shackled’, Hazleton writes about Kurdish musician Nûdem Durak (imprisoned in Turkey, apparently for singing in Kurdish and for teaching children Kurdish folk songs). Ruth Hazleton’s debut solo album, Daisywheel, gives new life to old music, presents social justice issues in a framework of engaging sound and provides a space for quiet contemplation.

SUE BARRETT

STURGILL SIMPSON

SOUND & FURY Elektra Records

With a menacing muscle car and apocalyptic explosion on its cover, Sound & Fury takes a blowtorch to preconceived expectations the industry and many of his fans might have had about the kind of music Sturgill Simpson should be making. These ten songs are brash technicolor statements of intent. Full synth glam disco boogie, like 80s-era ZZ Top jamming Las Vegas sleaze funk rock songs with Steve Stevens (Billy Idol) and Joe Satriani. It doesn’t always work but when it does it’s thrillingly indulgent akin to a guilty pleasure. It’s the soundtrack to a Netflix animated film Simpson co-wrote and produced, but that’s irrelevant to understanding and enjoying this album.

‘A Good Look’ is one of the many highlights with its burbling breakneck rhythm and incredible bass playing. ’Mercury In Retrograde’ is another gem, at its heart it’s pure country music, filtered through synth pop and William Onyeabor. It takes an unfiltered swing at the industry leeches and vultures looking to cash in on Simpson’s success.

Elsewhere he rails against the crass consumerism of the modern world, the obsession with image over substance (‘A Good Look’), making the decision to not play the industry game (‘Make Art Not Friends’, ‘All Said And Done’) and keeping his eyes on the prize of charting his own music course and being recognised for it on the coruscating The Jesus and Mary Chain wall of distortion that is ‘The Fastest Horse In Town’.

Buried beneath the neon and fireworks Simpson is still writing country songs, you can hear it in his delivery and cadence, you can hear the outlaw spirit in his kicking against the pricks lyrics.

This time around he’s chosen to dress it differently, and defiantly so. He’s chosen a fitting sonic palette to match the intent and veracity of these songs and in that sense Sound & Fury is a resounding success.

CHRIS FAMILTON

BRUCE COCKBURN

CROWING IGNITES True North/Planet

As brilliant as he undoubtedly is as a songwriter and singer, Bruce Cockburn can also paint vivid pictures without words, as his new self-composed all-instrumental work — a long overdue followup to 2005’s similarly tilted Speechless — amply illustrates. The veteran Canadian, who now has a staggering 34 albums to his credit, shows his exceptional acoustic guitar chops and compositional and arranging flair via a range of settings and styling. While his thumb provides the music’s throbbing pulse and his adroit chord selection the rhythm, it’s the finesse of Cockburn’s guitar fingerpicking that’s the icing on the cake. All bases are covered, from a superlative Scottish folk medley that reconnects the Canuck with his Caledonian roots to a couple of soulful blues studies (one a tribute to Blind Willie McTell with dobro, the other with mandolin support).

Jazz (with muted trumpet accompaniment), flamenco, world, country and more avant-garde influences surface elsewhere. From an urgent and edgy opener to a closing atmospheric dreamscape in which Cockburn utilises 12-string and baritone guitars in tandem with Tibetan cymbals, chimes and singing bowls, Crowing Ignites is utterly compelling.

RALPH MCTELL

HILL OF BEANS Leola/Planet

In his sixth decade as a recording artist Ralph McTell, whose name will go down in posterity as the composer of 1970s’ folk standard ‘Streets Of London’, can hardly be expected to break new ground.

Especially given that Hill Of Beans — McTell’s first album of originals since 2010’s acclaimed Somewhere Down The Road — sees the affable English singer-songwriter reunited with veteran American pop producer Tony Visconti, who was with him at the start of his career half-a-century ago. While McTell retains story-telling prowess, an ear for melody and a mellifluous voice, disappointingly few tracks feature his highly accomplished acoustic guitar fingerpicking.

The Piedmont blues study ‘Close Shave’ and ‘West 4th Street & Jones’, in which song and style captures early 1960s’ Greenwich Village vibe, doff a cap to a couple of his heroes, Blind Willie McTell and Bob Dylan. Fans who would prefer to hear Ralph McTell in troubadour mode might find some of the more predominant stringed arrangements, title track included, a tad too maudlin and over produced.

LUIS DE LA CARRASCA

GHARNATA Andalouse Alhambra

Flamenco, the fiery gypsy folk music of southern Spain, lends itself well to adaptations in the hands of sensitive musicians such as Luis de la Carrasca, a Granada born and raised musician who plies his trade in France. While the singer-songwriter-guitarist patently respects the traditions of his Andalusian heritage, he’s not averse to doffing his fedora to artists outside of the genre, as he does in Gharnata (Granada in Arabic) via the

words of the legendary Spanish poets Federico Garcia Lorca and Antonio Machado and with an extract from French operatic/ classical composer George Bizet’s magnum opus Carmen.

This imaginative album opens with a lively quintet rumba and closes with a fandango delivered a cappella. In between are three interesting variations on the lively buleria rhythm. Well supported by two other guitarists, a bass player, several percussionists and palmas (flamenco handclapping), Señor Carrasca’s singing is suitably passionate throughout.

MARIACHI LOS CAMPEROS

DE AYER PARA SIEMPRE Smithsonian Folkways

Hailed as a guitar hero and maverick in his native Bulgaria, Ateshkhan Yuseinov combines Balkan and other influences with a fearless shredding approach to self-comps that cover flamenco, jazz-fusion and heavy metal pyrotechnics. A dual beatbox world champion (SkilleR) uncannily simulates tabla and other ethnic percussion in a couple of dashing duets. Yuseinov’s vocalist partner, Venera Todorova, offers an alternative diversion on several cuts, including the set’s sole trad track. The album’s more chilledout pieces — one featuring lilting kaval (Balkan woodwind flute) — educe the guitar gun’s softer, more musical side.

KAUMAAKONGA

Their home city is Los Angeles, but Mariachi Los Camperos is the equal of anything one might hear any given night in Plaza Garibaldi, the genre’s Mecca in central Mexico City — as might be expected of a collective that’s been in existence for half-a-century and snared multiple Grammy awards and nominations. Despite their longevity, De Ayer Para Siempre is surprisingly only the group’s 10th album. The current 13-piece Los Camperos line-up makes up for that anomaly, playing a wide selection of Mexican regional styles, including rancheras, son jarocho, huapango and pasodoble, all impeccably orchestrated, with passionate vocals to the fore backed by violins, guitarróns, trumpets, harp and vihuela.

ATESHKHAN YUSEINOV

STRANGE SUITE Riverboat/Planet

TAOBA Wantok Musik

Kaumaakonga is the most exciting and accomplished group to have emerged from the Solomon Islands since Narasirato — a collective that took Bluesfest by storm a few years back. From the hymnlike ‘Ngede’ to the shuffling title track, from the joyful guitar pop vibe of ‘Nimo’ to two versions of the anthem-like ‘Tonga Puapua’ (one relatively unadorned), the distinctive vocal harmony singing — part Polynesian and part Melanesian — is uniformly consummate. Bamboo percussion, a characteristic of Kaumaakonga’s South Pacific region, provides drive. Several songs in the set have been passed down through oral traditions for over 26 generations.

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CD: Blues

CD: JAZZ AL HENSLEY

THE NICK MOSS BAND FEAT. DENNIS GRUENLING

LUCKY GUY! Alligator/Only Blues Music This follow-up to guitarist/ singer-songwriter Nick Moss’ 2018 Alligator Records debut The High Cost Of Low Living marks his 14th title since he formed his original band The Flip Tops in 1998. A former sideman in the bands of Jimmy Dawkins, Jimmy Rogers and Willie ‘Big Eyes’ Smith, Moss is well-read and fluent in discoursing the accent of south side Chicago blues. And that is very much the musical bag represented here despite the album being recorded at the now renowned San Jose, California studio Greaseland operated by guitarist Kid Andersen. Moss’ well developed fretwork and robust vocals are matched by the fluid harmonica technique and serviceable voice of Dennis Gruenling who sings two of his own compositions among the CD’s 14 songs. Except for Johnny O’Neal’s riff-propelled ‘Ugly Woman’, the others are Moss originals brimming with bounce and spirit. Moss’ skin-tight rhythm section cuts straight to the core, Monster Mike Welch adds his acoustic guitar expertise on the country blues of ‘The Comet’, and coproducer Andersen contributes well-honed six-string talents on a few sides, as well as a skittering mandolin solo in the style of Yank Rachell on ‘Simple Minded’.

BILLY BRANCH & THE SONS OF BLUES

ROOTS AND BRANCHES Alligator/Only Blues Music

Chicago blues harmonica master Billy Branch honed his chops in the 1970s jamming with greats such as Junior Wells, James Cotton, Carey Bell and Big Walter Horton, eventually earning a slot for himself in Willie Dixon’s band. Branch launched his own recording career after forming The Sons Of Blues in 1978. Regarded by late mentors Wells, Cotton and Bell as the new kid on the block when he appeared with them on the CD Harp Attack! in 1990, Branch is now being hailed heir apparent to Chicago’s blues harp throne. Roots And Branches is his tribute to the songs of Little Walter Jacobs, the most influential and revered Windy City blues harpist who died in 1968 after a short but prolific career that left a lasting legacy.

While Branch never got the opportunity to learn from Jacobs in person, he fell under the spell of the legendary artist’s large body of venerated recordings.

Flanked by the current SOB lineup which includes fiery guitarist Giles Corey and long-time band pianist Sumito Ariyoshi, Branch recreates 14 songs made famous by the harp genius, not straying too far from the originals.

VARIOUS ARTISTS

THE ROUGH GUIDE TO COUNTRY BLUES Rough Guides/Planet Co. By the time country blues was first recorded in the mid-1920s 84

this primal music style had spread from the Mississippi Delta to the Piedmont in the US eastern states and to Texas in the west. An acoustic, mainly guitar-driven form of blues spawned by field hollers, it evolved through the early songster tradition where travelling guitar or banjo-playing troubadours performed popular tunes of the day from folk songs and ballads to rags and spirituals. As the music took flight it developed multiple regional styles from bottleneck guitar playing to finger-picking, incorporating elements of ragtime, gospel, hillbilly and jazz. This 25-song collection explores many different facets of pre-war country blues featuring both towering figures and lesser known exponents of the genre.

Influential blues pioneer Charley Patton and other giants like Son House, Skip James, and Tommy

TONY HILLIER Johnson are among those emanating from the Delta.

Texas blues trailblazers Blind Lemon Jefferson and Blind Willie Johnson complement such gifted Piedmont performers as Blind Willie McTell, Blind Blake and Blind Boy Fuller. While the fabled Robert Johnson is conspicuously absent here, prominent female artists Memphis Minnie and Geeshie Wiley appear together with folk blues titans Leadbelly and Mississippi John Hurt.

MILES DAVIS

RUBBERBAND Blue Note

‘Maze’, in which Miles duels with Mike Stern’s electric guitar, has a more complex network of passages. Apart from lurching from reflective melancholy to menacing funk, ‘Echoes In Time/ The Wrinkle’ — the longest track on the set at 9:25-minutes — gets bogged down in repetition.

The closing title track, likewise.

THE VAMPIRES

PACIFICO Ear Shift Music

MONTY ALEXANDER

Nearly 30 years after his passing at the relatively tender age of 65, Miles Davis remains a mighty presence in modern jazz. Interest in his music — stimulated by the release of various digitalised live sets over the intervening years and of the acclaimed movie Miles Away, and tours by the Miles Electric Band — will no doubt be piqued to new peaks by the unearthing and completion of a 1985-1986 Los Angeles studio session that was originally to have marked his signing with Warner following a 30-year association with Columbia Records. Finished only recently by the original producers Randy Hall and Zane Giles and Davis’s drummer nephew Vince Wilburn Jr, Rubberband compares favourably with Star People and Decoy, bona fide Miles Columbia releases of the same era, but ranks behind the later 1980s’ Warner titles Tutu and Amandla.

Standout track ‘Paradise’ perfectly matches the colourful cover art, of an original Miles Davis painting from the same period. Featuring synthesised steel drum, Spanish guitar, flute and Brazilian Bahia-style drumming, it has a more alluring festival vibe than the track titled ‘Carnival Time’. Showcasing the sultry vocals of Donny Hathaway’s daughter Lalah, ‘So Emotional’ melds modern RnB and soul elements with Miles’s muted trumpet. The instrumental ‘Give It Up’ — as Davis himself asserts in a characteristically rasping spoken-word intro — owes more to James Brown and Prince-styled soul-funk, with wah-wah guitar, upfront bass lines and more robust horn playing by the maestro.

WAREIKA HILL MACD Records

With Wareika Hill, Jamaican jazz’s premier pianist Monty Alexander, who has recorded with American giants such as Dizzy Gillespie, Ray Brown and Milt Jackson, applies his intrinsic flair for Caribbean “riddim” to a set of Thelonious Monk tunes, without compromising that composer’s revered back catalogue. Now in his mid-70s, Alexander turns the clock back to the reggae fills and breaks that lit up his work with compatriot Ernest Ranglin on albums such as 1996’s ground-breaking Below The Bassline, giving a joyously fresh twist to Monk’s classics. Tenor sax and electric guitar cameos from Joe Lovano and John Scofield respectively embellish takes of ‘Green Chimneys’ and ‘Bye-Ya’, along with nyabinghi Rastafarian style drumming and Skatalites-informed jazz-ska.

Elsewhere Alexander’s studio sidemen provide simpatico support on such widely covered standards as ‘Misterioso’ and ‘Well You Needn’t’, alternately skankin’ and swinging. A trio of percussionists accompany the Jamaican in an inspired reading of the 19th century hymn ‘Abide With Me’. An uplifting undercurrent pervades all of Alexander’s self-tagged Rastamonk Vibrations.

The Vampires’ seventh album since the start of their recording career a decade ago puts this ever-improving Sydney combo of early 30-year-olds at the pinnacle of the contemporary Australian jazz scene. Back to a quartet after 2017’s romp with the brilliant Beninese guitarist Lionel Loueke, the masters of vamp show their versatility and virtuosity via a variety of global snapshots and styles that range from cruisy Pacific island and Caribbean groove and African rhythm to be-bop, avant-garde and freeform improvisation. Trumpeter Nick Garbett — frequently in Miles Davis and muted or reverbed mode — and his sparring partner, saxophonist/pianist Jeremy Rose, converse at the highest level in a dichotomy with ostinato bass and exotic drum patterns laid down by the band’s rhythm aces, Alex Boneham and Alex Masso. The catchy title track, ‘West Mass’ and ‘View From Fez’ are among the highlights of a kaleidoscopic set that’ll richly reward repeat listens.

JOSHUA REDMAN

SUN ON SAND Nonesuch

For his seventh album in as many years, the industrious American sax supremo Joshua Redman teamed up with a

lauded New York string quartet, Brooklyn Rider, and a gun jazz rhythm duo to interpret a 7-piece suite composed and arranged by Patrick Zimmerli, in which each work represents a different expression of light.

The result is a consummate and thoughtful synthesis of jazz and neo classical music. Sun On Sand starts spectacularly with Redman showing his be-bop paces matched by violins and malleted drumming. Equally enthralling, though somewhat less energetic, are ‘Dark White’, in which Brooklyn Rider’s strings are more to the fore and the title cut, which has Redman’s side players, double-bassist Scott Colley and drummer Satoshi Takeishi, playing a more prominent role.

VERONICA SWIFT

CONFESSIONS Mack Avenue

In her mid-20s, Veronica Swift is already ensconced in America’s jazz A-list, having toured with Wynton Marsalis and other stellar names and performed at prestigious festivals like Monterey and Montreal. The release of her de facto debut album coincides with an inaugural appearance in Australia, at the Womens’ International Jazz Festival in Sydney this month (November 2-17). Alternately accompanied

by Benny Green and Emmet Cohen — rated among the best jazz pianists of their respective generations — the New York songstress shows precocious command of the vocal-jazz tradition and yet displays impressive originality as she sashays and swings expressively and imaginatively between standards such as ‘You’re Gonna Hear From Me’ and ‘Gypsy in My Soul’ while combining sass and seriousness. The decision to twin the title track with Nina Simone’s ‘The Other Woman’ underlines her acumen as an arranger.

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FILM AND DVD

VINYL:

BY B R I A N W I S E

STEVE BELL

VARIOUS ARTISTS

JOSH ROUSE

THE REPLACEMENTS

HILLBILLIES IN HELL VOL 9

DRESSED UP LIKE NEBRASKA

DEAD MAN’S POP

Omni/Rocket

Rykodisc/Warner

Sire/Rhino

DARK PROTO-COUNTRY

POP-INFUSED ALT-COUNTRY

COLLEGE ROCK REIMAGINED

Over the last few years the Hillbillies In Hell franchise seems to have gathered a near unstoppable momentum, now up to its ninth collection of mostly long-forgotten country songs pilfered from obscure 7” singles which allude in some manner or form to sins, sinners and what awaits them once they fail the myriad different tests of moral turpitude facing us mere mortals.

It’s obvious that country-affiliated genres have been prolific over the years because they’re still not scraping the bottom of the barrel in their quest to entertain and disturb, this collection hanging together as diabolically as ever. Artists in this batch include deep cuts from household names such as The Louvin Brothers (‘Satan Lied To Me’), Dolly Parton (“Down From Dover’), Porter Wagoner (‘The First Mrs Jones’), Jim Reeves (‘It’s Nothing To Me’) and Ernest Tubb (‘Saturday Satan, Sunday Saint’), but it’s the lesser-known lights who really give the compilation its flavour, with memorable contributions from Troy Hess (‘Please Don’t Go Topless Mother’), Connie Dycus (‘I Could Shoot Myself’), Tex Williams (‘Ghost Of A Honky Tonk Slave’) and Sunshine Boys Quartet (‘Goodbye World, Goodbye’). The songs have been remastered direct from first generation analogue tapes and the vinyl run is naturally limited to 666 copies, half of which are the randomly-inserted ‘Tarturas’ red/black splatter variant (the remainder the charmingly-named ‘Heathen black’).

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I first stumbled upon Nebraskan singersongwriter Josh Rouse back in 1999 when he teamed up with Lambchop mastermind Kurt Wagner for the Chester EP, that collaboration proving enthralling enough that I immediately followed the trail back to Rouse’s still-wet foundations which existed then in the form of his 1998 solo debut Dressed Up Like Nebraska. That album proved immediately captivating at the time with its heartfelt, lo-fi ruminations on life, love and his titular home state, the ten songs – which were recorded on 8-track in the singer’s lounge room and co-produced by Rouse alongside former Cowboy Junkies touring member David Henry – combining the downcast side of altcountry with the overt melodicism of pop.

This leftfield amalgam worked wonderfully in both design and execution on tracks like ‘Suburban Sweetheart’, ‘The White Trash Period Of My Life’ and the standout, supercatchy title track. Rouse’s muse would soon gravitate towards the worlds of indie-soul and even lounge music, but on Dressed Up Like Nebraska he set the benchmark for the storied career that continues unabated to this day. This new limited-edition 2-LP numbered pressing (the first time ever the debut has been on wax) has been specially mastered for vinyl so sounds spectacular, and includes four bonus tracks (live versions, demos and outtakes) which add depth to an already excellent album.

Back in 1989 when legendary Minneapolis outsiders The Replacements released their acclaimed sixth album Don’t Tell A Soul things weren’t all that great behind the scenes. It was the first album made without founding guitarist Bob Stinson – pushed out of the band due to “creative differences” as well as his legendary hedonism, replaced

by Bob “Slim” Dunlop – but the major unrest was in the studio, frontman Paul Westerberg famously unhappy with the slick mix provided by engineer Chris LordAlge. Now that album has been reissued in a whole new light, the previouslyunreleased mix by producer Mark Wallace eschewing the original’s radio-friendly production in favour of a more-stripped back, raw aesthetic which aligns more closely with Westerberg’s original vision. It sounds superb, with songs once considered timeless such as ‘Talent Show’, ‘Achin’ To Be’ and ‘Ill Be You’ taking on a whole new lease of life in this new construct. The Dead Man’s Pop boxset also includes four CDs which feature the new mix, a disc of outtakes (including five tracks from when Tom Waits dropped into the session to jam) and one chaotic live show spread over two discs, as well as a book of rare photos, memorabilia and liner notes by band biographer Bon Mehr. Top shelf.

DAVID CROSBY: REMEMBER MY NAME

(SONY PICTURES) ECHO IN THE CANYON (GREENWICH ENTERTAINMENT)

At 78, David Crosby has had an enviable career as a founding member of The Byrds and Crosby, Stills & Nash (and Young), as well as being a respected solo artist.

Nor does he show any signs of slowing down having released four studio albums in the past five years. Crosby also has a well-known story of redemption, having recovered from drug addiction, a liver transplant and heart surgery and also written a highly publicised book about his life. Then there is the fact that he is the father (by artificial insemination) of Melissa Etheridge’s two children. If you made a feature movie of Crosby’s life it would beggar belief.

You might think that in his eighth decade Crosby could have been considered a much-loved and respected elder stateman and basked in the warm glow of the accolades from his peers. Unfortunately, this is not the case. Respected perhaps.

Much-loved, definitely not.

Even Crosby himself admits that his former colleagues no longer want to have anything to do with him. “I alienated all of them,” he says. The Byrds’ Roger McGuinn calls him ‘insufferable’ – and, after all, he did fire him from the group. In a recent documentary on Woodstock’s 50th anniversary, Graham Nash, who has done much to boost Crosby’s career including producing a box set for him, again claimed that he didn’t want Crosby in his life anymore. There is something really sad about watching Crosby’s former close friends reject him and it is even sadder to hear him admit to his own blame in this process. It makes you wonder if some of us ever grow up at all.

Remember My Name, directed by A.J. Eaton and produced by Cameron Crowe, certainly doesn’t shirk Crosby’s years as a heroin and cocaine addict who spent five months in a Texas prison on drugs and weapons-related charges. Crosby is the first to recognise that he is lucky to be still alive (he is also a diabetic with eight stents in his heart) but it is harder

for us to recognise why he chose such a self-destructive path. Was it the fact that his father was a cinematographer in Hollywood and the young David knew all about the ‘star making machinery’ (as Joni Mitchell called it) at an early age? Was it the fact that he was devastated by the death of his long-time girlfriend Christine Hinton in a car accident in 1969? Whatever the reason, he certainly adopted the worst aspects of the rock ‘n’ roll lifestyle.

The most surprising aspect of David Crosby: Remember My Name and what makes it so compelling is Crosby’s honesty.

It would be nice to think that he might reconcile with his former friends but I suspect that it is not going to happen.

Crosby also features in Echo in The Canyon and he explains – as does Roger McGuinn - how rock ‘n’ roll and folk merged there.

It reminded me that I have been such a big fan of the music that emanated from there that one of the first things I did when I visited Los Angeles was to go for a ride along Laurel Canyon Boulevard. I have to say that it is still surprisingly rustic given its proximity to the city and it is easy to understand how it might still inspire artists and musicians who live there.

The impetus for this film was a 2015 anniversary tribute concert featuring some of the legends of the past era and some contemporary artists such as Cat Power, Beck, Norah Jones, Fiona Apple and Jakob Dylan of The Wallflowers, who also conducts interviews. Former Capitol Records boss Andrew Slater co-produced the concert and also produced and directed the film. Jakob’s father Bob does not appear here, although he does live just up the road apparently. (Neither does Joni Mitchell make an appearance but perhaps at the time of filming she was not well enough to talk).

There are plenty of stories to punctuate the concert footage and we hear Michelle Phillips (of the Mamas & Papas), Tom Petty, Stephen Stills, Regina Spektor, Crosby and McGuinn and others. While it is not the definitive tale of the Laurel Canyon (you can find that in Michael Walker’s book (Laurel Canyon: The Inside Story of Rockand-roll’s legendary Neighborhood) it is still entertaining for anyone interested in the music.

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ItGets Me Home,ThisCurvingTrack

By Ian Penman (pb, Fitzcarraldo Editions)

BY JOHN CORNELL

WHY BUY A VALVE AMPLIFIER The simple answer? In much the same way that vinyl sounds different to CD, valve amplifiers sound subtly different to transistor amplifiers (better known as ‘solid-state’). Such is their reputation in fact, that you will often hear claims by solidstate amplifier manufacturers such as “a valve-like sound” or even “a sweet sound reminiscent of a valve amplifier” as selling points!

The reasons why valves sound different are complex but are often the result of differences in the distribution and nature of higher harmonic frequencies – a form of distortion. Whilst distortion is created in all amplifiers, the distortion characteristics of valve amplifiers are arguable more natural and less offensive, which is why valve amplifiers tend to reduce the overall harshness of your system while retaining important content such as treble and musical detail.

In comparison, some transistor amplifiers may sound relatively ‘harsh’ - particularly when driven by the dynamic and crystalline recordings on today’s CDs. For example, this can sometimes lead to increased sibilance which is especially noticeable on female vocals.

Also, something else that most people don’t know is that in this age of mass production, all vacuum tubes are handmade.

What’s the Difference between Valve & Solid-State Amps?

Valve amps can be designed to better control power into varying speaker impedance (rated in Ohms), which may be more difficult in the case of some solid-state amplifiers. Speaker impedances ‘float’ depending on the musical input which is why most speakers are labelled nominal 4 Ohm or 8 Ohm. Another advantage is that a short-circuit between the speaker leads has almost no detrimental effect on valve amps whereas it can destroy some solid-state amps - particularly in today’s ‘built to a cost’ approach. Home theatre amps are notorious in this regard as they often employ multiple but poor lower quality amplifiers.

On paper, valve amplifiers generally have much lower power ratings than transistor amps. A valve amp might have 20 Watts RMS per channel while 100 Watts or more is common in their transistorised cousins.

However, this doesn’t mean the valve 88

amp will let you down in volume or fidelity because, simply put, valves produce a better-quality signal, especially when driven above their rated power. This area is known as ‘headroom’ and valves typically handle this with less distortion than solid state amplifiers.

Classes of Amplifier Amplifiers come in varying circuit designs referred to as ‘Classes’. Class A valve amplifiers do not suffer from crossover distortion at low levels, which allows you to better hear the silence between notes and instruments, producing a pleasing clarity. However, this comes at the cost of lower efficiency i.e. higher running costs.

It is possible to make a Class A solid-state amplifier. These are essentially a more complex solution that emulates the behaviour of valves.

Class A/B amplifiers are more efficient in their use of power than class A due to their push-pull design which uses two output valves in the output stage and switches between them both (as distinct from class A which has constant power through one output valve). This switching causes slightly more distortion but allows for greater output power. These amps are less expensive to manufacture but still contain most of the musical detail found in class A amplifiers.

Nearly all transistor amplifiers have noticeable “crossover” distortion at low levels, which interferes with the natural ambience/reverberations/echoes of a recording. Class A/B valve amplifiers typically perform better in this regard than solid state amps.

Which Valve Amp Should I Buy? One of my favourite valve amplifier brands is PrimaLuna. Since 2003, PrimaLuna has created tube amplifiers with unique features found nowhere else.

All PrimaLuna Amplifiers use a proprietary Adaptive AutoBias system that employs an array of sensors to monitor tubes and make adjustments seamlessly in real time.

The result is low to no maintenance, long tube life, and the lowest possible distortion for amazing sound. And if a tube does fail, Adaptive AutoBias will instantly put the amplifier into protection mode so no parts can get damaged. Simply plug in another tube and keep on listening!

PrimaLuna also employs point-to-point wiring on all products. The entire signal path, including resistors and capacitors, is painstakingly hand wired with heavy-gauge cable by craftsman.

PrimaLuna Valve amplifier range starts at $3,395 and are well worth an audition.

M

usic writer Ian Penman is not exactly a household name. His previous, and in fact only book, Vital Signs was published in 1998, literally last millennium. He came to prominence writing for UK magazine NME in the late seventies, during the burgeoning post-punk scene, and later with The Wire and Face magazine. However, it’s only in recent years that he has proved himself master of the long-form essay, November 2019 publishing extended reviews in London Review of Books and City Journal. These two magazines have given him carte blanche to flex his literary muscle, encouraging 5,000-7,000-word in-depth profile pieces.

Ostensibly book reviews, these essays turned out to be so much more, ruminative think-tank pieces bristling with originality and flair. It’s fair to say they are very much summations born out of a lifetime’s thinking about music.

While it borders on cliché to label someone a ‘writer’s writer’, in the case of Penman, it’s a case of – if the glove fits! Music writer Simon Reynolds has stated that Penman and fellow writer Paul Morley “halved the New Musical Express‘s circulation from its quarter-million-plus peak in 1979, with their Derrida quotations and pun(ctuation) games”. While that may have been bad for NME’s bank balance, Penman’s writings were at the same time being devoured, like manna from heaven, by the next generation of music critics, including Reynolds, Brian Dillon, and Mark Fisher. Erudition, and a singular capacity to quote Roland Barthes or Susan Sontag, was henceforth an essential component of the music journalist’s toolkit.

Penman’s book’s title is drawn from a 1958 poem by WH Auden, a line that, for him, conjures “a lovely description of spinning vinyl”. But there is another, far deeper, resonance at work: “When all else fails, when our compass is broken, there is one thing some of us have come to rely on: music really can give us a sense of something like home”. There it is in a nutshell: when the chips are down, for you or for me, it gets us home.

Penman’s eight extended essays range over an eclectic array of subjects: Mods, James Brown, Charlie Parker, Frank Sinatra, Elvis, guitarist John Fahey, Steely Dan, and Prince. What unites them is Penman’s acumen for getting to the nub of the matter at hand, unpicking a thread and seeing how far it will unravel.

He has an uncanny knack for freeze-framing an artist in a few sentences. Jazz pianist Bill Evans “looked at times like an algebra professor who’d walked onto the wrong stage. He had the classy Ivy League suit and never a hair out of place, but his private life was a hurtling fugue, a circular to-and-fro of self-cancelling feints and narcotic stratagems”. Or James Brown: “Out of all the things that James Brown signifies, it’s his music that’s had the strongest afterlife: the actual sound of the One, its churning, jumpy iterative texture. If Brown stalks rap and hip-hop and other hideouts of contemporary sound, it’s not through his vocal glory so much as what turntable mavens call the ‘breaks’: the neverbettered short-order alchemy of drums, bass, guitar and horns”.

The jury is out as to who first said: “Writing about music is like dancing about architecture”. If I believed it, I’d be shutting the computer down now. Still, it’s not without its pitfalls, and rare is the writer who can sculpt words to generate the heat and sizzle of the bandstand. Penman asks himself that very question: “How do you convey all the snares and banquets, peaks and deadfalls, of a difficult but intermittently joyous life like [Charlie] Parker’s?”

Then he goes on to answer himself, encapsulating Parker’s saxophone as “Unearthly sonic signatures woven from everyday air; flurries of notes like Rimbaud’s million golden birds set free: no one else could do this one thing he did, exactly the way he did it”.

There is no evidential link between Penman’s subjects – they’ve been written to order. As he says: “the reviewer-essayist is more often than not a kind of literary cabby, waiting to be hailed and told where to go”. What links them, in the end, is the calibre of the writing, that and an unbridled capacity for unearthing nuggets no matter where he casts his gaze. His essay on Steely Dan’s Donald Fagan is a model of concision, a sustained argument for the music’s continuing relevance. When it comes to John Fahey, Penman grapples with the yawning gap between the guitarist’s sublime music and his less than desirable personality, noting that, in some cases “we may find that an artist’s perplexingly messy life only increases our awe before the rough beauty of their work”. Penman argues cogently for Prince’s genius but acknowledges that the man behind his music remains elusive. Never shying away from opinion, he cites Parade as Prince’s masterpiece: “It has everything: joy and sadness, get-down and wistfulness, mourning and melancholia, group funk and Debussy interludes, echoes of Ellington, Joni, film music, chanson. It’s that rare thing among Prince’s albums: a perfectly realised whole”.

Penman’s book has been published by Fitzcarraldo Editions, a UK press better known for publishing award-winning international literary fiction rather than essays on music. That says something about Penman’s standing, as well as explaining away the book’s austere cover, with its starkly typographical design. Don’t let it fool you, there is passion and grit here, heart-stopping prose, and words distilled from a lifetime’s listening to music. Anyone contemplating a future in music journalism would do well to read it.

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Bowie’s Books: The Hundred Literary Heroes Who Changes His Life by John O’Connell is a fascinating look not at Bowie’s favourite books (apparently, he read thousands) but the ones he considered important and influential.

And that’s what we get here – 100 books with entertaining and well written mini -essays on each taking in information about the book, where it fit into the world of Bowie, followed by suggestions of a Bowie song to listen to whilst reading the entry, and another book by the same author you might like if you’re suitably impressed and immersed in the one that Bowie dug.

By Stuart Coupe

This is a well assembled, easy to pick up and read a snippet of and then come back to it later kind of book. And you certainly come away from it with an appreciation for how extensively and widely Bowie read. I know a bit about books but this threw up a whole array of suggestions of authors and their work that I’m now intrigued enough to explore.

And you have to love the cover quotes from Bowie:

T

here’s enough on the mark rock ’n’ roll references in Nell Zink’s novel Doxology to convince you that the author knows exactly of the milieu that she writes.

As an example, we’re only at page 17 when a couple of the main characters meet and this exchange results: “I’m a Sonic Youth completist,” Joe said, taking the single from Daniel and arranging it on the turntable. “The only record I don’t have is the Forced Exposure subscribers-only single ‘I Killed Christgau with My Big Fucking Dick.’”

“That’s not a real record,” Daniel said.

“Byron Coley made that up.”

Byron Coley was the editor of Forced Exposure and Robert Christgau was the chief music critic of the Village Voice, as Daniel did not feel called upon to explain to Pam. Nor did he find it necessary to tell her, one condescending beat later, that the record existed after all.

That’s typical of a novel that has – at least in the first half, leading up to September 11, 2001 – rock ’n’ roll as one of its central tenets. Pam, Daniel and Joe live in New

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Q – What is your idea of perfect happiness?

A – Reading

Q – What is the quality you most like in a man?

A – The ability to return books.

Also, on the reading pile: York City in the 1990s. They initially play in a band together, then Joe has a surprise solo hit single. The events of 9/11 impact on them all, but in ways that you don’t expect and with occurrences on that day changing their world forever – simply because of the strains put on New York’s infrastructure. To say more would most certainly be filed under ‘spoiler alert’. Let’s not go there.

Doxology is a large, sprawling novel with a lot of targets and an equally large number of subtexts. At times it’s hysterically funny, at others breathtakingly insightful and poignant. And it’s always totally on the mark in its take on the music industry through to the bigger issues that are canvased.

Favourite take out from this novel?

“Most stars, however dim their astral radiance, are at first surprised, soon perturbed, and ultimately warped as social beings by the ease and pleasure habitually bestowed on success.”

Speaking of stars – some of them read books. Lots of books. And it would appear that David Bowie was right near the top of the Rock Stars Who Read pantheon.

A Sharp Left Turn: Notes On A Life In Music, From Split Enz To Play It Strange

by Mike Chunn looks to be an extremely well written and candid memoir from a Split Enz founder that tells his story not only of those days but continues on with his work running record and publishing companies in New Zealand, through to his co-founding of Play It Strange, a charitable trust which supports young New Zealanders in their songwriting ambitions.

dig it BOoK EARLY aND

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Book by 31 December 2019 and take a cool grand off our trip to the Americana Music Triangle — the birthplace of nine different genres of roots music. We’ll take you there with our highly personalised, in-depth, local knowledge, off-the-beaten track adventures. First and foremost — we’re music fans like you — you’ll love the places we go.

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Surf by Day, Jam By Night by Ash Grunwald finds the musician interviewing fifteen of the world’s top surfer-musicians.

Included are chats with the likes of Stephanie Gilmore, Jack Johnson, Pete Murray, G. Love, Kelly Slater, Dave Rastovich and many others.

The Wichita Lineman – Searching In The Sun For The World’s Greatest Unfinished Song by Dylan Jones. More on this in the next issue as my copy has only just arrived but oh yes, an entire book on that song.

I’m sure this is going to rate right up there with Dave Marsh’s book on nothing but Louie Louie.

See you next issue. Happy reading.

For more information, call Garry Smith on +61 400 269 653 or visit americanamusictours.com *Conditions apply. Bookings must be made by midnight on the 31st December 2019 to qualify. $1000 (AUD) per person discount is applicable for any 15-day tour in 2020 and is based on our standard tour price as advertised on our website. A deposit is required at the time of booking with full payment of the discounted rate per our standard booking terms and conditions. Subject to availability. For more details visit www.americanamusictours.com ©Americana Music Tours. All rights reserved.

Little Wise

Neal Casal

Niall McGuigan

Project Feijoa

The Teskey Brothers

COMPILED BY SUE BARRETT

HELLO

Hello, Goodbye is the title of Western Australian singer/songwriter Jordy Maxwell’s new EP. Other new recordings include: Little Wise, Want it All; Rowan Rheingans, The Lines We Draw Together; Cassidy Dickens, Anxious Love; Tommy Sands, Fair Play to You All; Jetty Road, Because We Can; Philip B Price, Bone Almanac; Cidny Bullens, Walkin’ Through This World; Niall Mc Guigan, Spiritual Anarchy; Rachel Harrington, Hush the Wild Horses; Released From Quiet, Road to Dalailah; Christina Martin, Wonderful Lie; Project Feijoa, The California Tapes; Jeff Black, A Walk in the Sun; Ruth Hazleton, Daisywheel.

Juno-winning Canadian singer/songwriter Shari Ulrich’s new album is Back to Shore. Ulrich says, “I started violin in Grade 4, but it was in my last year of high school that I discovered I had a voice. After moving to Canada [from USA] in 1971, I realized music was undeniably my path. Then the playing evolved into writing.”

According to Ulrich, she is loving being a musician “more than ever. There is an even deeper connection that is happening with audiences that I can’t quite explain but is very rewarding.“ In an interview about 20 years ago, Shari Ulrich said in the coming year she was hoping to “help give my daughter Julia a rich and joyful 7th year of life”. These days, Julia Graff is an audio engineer, music editor, music videographer, musician (www.juliagraff.com) and had a key role in the production of Back to Shore. Shari Ulrich says having Julia work on the album was “SO SPECIAL! Julia got her Masters in music in Sound Recording which gave her exceptional skills as an engineer and producer and this is our 3rd album together. She’s accompanied me on fiddle, mandolin, guitar and accordion since she was twelve, but these new dimensions to our collaboration are an unexpected and huge bonus. Julia is the gift that keeps on giving!” With Back to Shore launched, Shari Ulrich will be spending the coming year, “writing, touring, recording!”

There are upcoming Australian gigs from: Little Wise; Mike + Ruthie (of The Mammals); Kerryn Fields; Tim Freedman; Eleanor McEvoy; Khristian Mizzi; Greta Stanley; Pony Face; Suzette Herft; Emily Barker; Mick Thomas; Felicity Urquhart; The Teskey Brothers; Patty Griffin; Newton Faulkner; Jenny Biddle; Sahara Beck; Kyle Lionhart; Emma Donovan.

Email discussion list FOLKDJ-L (primarily for posting play lists) is a good way to discover new music and to alert DJs to new releases.

BUT…read some messages before posting and sign up for the Digest version. More info: www.folkradio.org/about-folkdj-l Other new recordings from: Karen Dahlstrom, No Man’s Land; Fred Gillen Jr, If I Woke up This Morning and Died; Connie Kaldor, Everyday Moments; Daniel Crabtree, The Storyteller in Me; Lillian Todd Jones, Try Some; Conor & the Wild Hunt, You’re Not Alone; Alice Peacock, Minnesota; Ralph McTell, Hill of Beans; Annie Gallup, Bookish; Dori Freeman, Every Single Star; Ana Egge, Is it the Kiss; The Rough & Tumble, Howling Back at the Wounded Dog; Sandra Kerr, Rebel with Her Chords; The Susie Glaze New Folk Ensemble, Live at McCabe’s; Heather Masse (The Wailin’ Jennys) & Jed Wilson, Hold On.

LIVE AT THE SYDNEY OPERA HOUSE

After operating for 10 years, crowdfunding platform PledgeMusic has gone into liquidation

JBONAMASSA.COM

Russell Smith (70), of Amazing Rhythm Aces, died Tennessee, USA (July) Jamaican musician Pat Kelly (70), died Jamaica (July) Neal Casal (50), singer/songwriter and guitarist for Ryan Adams, Jayhawks, Lucinda Williams and Tift Merritt, died in August

IN STORES

Australian actor Ningali Lawford-Wolf (52), a Wangkatjungka woman from the Kimberley, died Edinburgh, Scotland (Aug)

OCTOBER 25TH

Donnie Fritts (76), American singer/songwriter and keyboardist for Kris Kristofferson, died Alabama, USA (Aug) Australian violinist Pamela Dowsett (74), died New Zealand (Aug) English composer Jonathan Goldstein (50) and saxophonist / clarinettist Hannah Marcinowicz and their baby Saskia, died Switzerland (Aug) LaShawn Daniels (41), Grammy-winning songwriter, died South Carolina, USA (Sept) Keyboardist Mick Schauer, of American band Clutch, died in September Ric Ocasek (75), of The Cars, died New York, USA (Sept) American singer/songwriter Eddie Money (70), died California, USA (Sept) Robert Hunter (78), lyricist for Grateful Dead, died in September Australian composer Martin Wesley-Smith (74), whose music was used in ABC radio schools music broadcasts, died NSW, Australia (Sept) Yonrico Scott (63), drummer for The Derek Trucks Band, died in September Irish singer Sandie Jones (68), who performed ‘Ceol an Ghrá (The Music of Love)’ in the Eurovision Song Contest, died USA (Sept) Larry Wallis (70), guitarist for Pink Fairies and Motörhead, died in September American musician Jimmy Johnson (76), died Alabama, USA (Sept)

INCLUDES 4 NEW UNRELEASED LIVE TRACKS 20 PAGE COLLECTIBLE BOOKLET AVAILABLE ON CD & DOUBLE LP VINYL INCLUDES EXCLUSIVE BONUS TRACK

John Cohen (87), of New Lost City Ramblers, died New York State, USA (Sept)

FREE SONG NOW!

SCAN HERE

Songwriter and producer Busbee (Michael James Ryan) (43), died in September LP S

ET

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…AND GOODBYE

JOE BONAMASSA

2

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(077 55 450 857

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Q PA C I N A S S O C I AT I O N W I T H T R O U B A D O U R M U S I C P R E S E N T S

LLOYD COLE F R O M R AT T L E S N A K E S T O

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O N E N I G H T O N LY

15 DECEMBER 2019 C O N C E R T H A L L , Q PA C Q PA C . C O M . A U | 1 3 6 2 4 6

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