MEGAscene Issue 20

MEGAscene • Issue 20 - 2020

. . . featuring music and lifestyle in Adelaide

Issue 20 2020

The Rustlers

Blues Portrait Review

Melbourne Music Week

Gig photos of: Mi-Sex, Boom Crash Opera, The Gig photos of: The Lunchcutters 1965 Masters Apprentices, Halestorm, Alex Boom Crash Opera Chain Lloyd, The Lunchcutters, Chain, Ron Tremaine’s The Animals Alex Lloyd Musical Extravaganza, OK Motels, DAF Misex 1965 Masters Apprentices 1

MEGAscene • Issue 20 - 2020

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MEGAscene • Issue 20 - 2020

IN THIS ISSUE 08 12 16 30 32 38

10 14 18 20 21 22 24 28 35 40 43 44 46

Features

The Rustlers Blues Portrait Book Revue Pauline Bailey In Concert Series 5 Garden Of Unearthly Delights Gwyn Ashton album review

Photos & Reviews

The 1965 Masters Apprentices Blues Portrait Book Launch DAF. Melbourne Music Week Chain The Lunchcutters Mark Of Cain Boom Crash Opera OK Motels Mi-Sex Halestorm The Animals Alex Lloyd Ron Tremaine Musical Extravaganza 48 Ian “Polly” Polites

Regular Columns

26 Live Sound Advice 34 MEGAlocal

Rob Pippan - The 1965 Masters Apprentices Photo: Sue Hedley

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MEGAscene • Issue 20 - 2020

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MEGAscene • Issue 20 - 2020

MEGAscene Editor: Sue Hedley Deputy Editor: Michelle McGoldrick Contributors this issue: Frank Lang Cheryl Lee David Powell Shaun Whitelum Jo Newman Mark Thurston Pauline Bailey Writer On The Road: Michelle McGoldrick Photographer: Sue Hedley Additional Photography: Vanessa Deery Layout: Sue Hedley Michelle McGoldrick Published by: Rising Star Media www.risingstar.com.au MEGAscene web address: www.facebook.com/megasceneoz Editorial and Advertising enquiries: rsm@risingstar.com.au Telephone: Sue - 0414 984 739 Postal address: PO Box 333 Greenacres SA 5086 © Rising Star Media 2019 All rights reserved

EDITOR’S NOTE Hello MEGAscene fans and readers, Thanks to everyone who has contributed to MEGAscene in past issues, particularly Allan Tiller who wrote SA Paranormal column for many years; Allan has now “hung up his pen” and we wish Allan all the best. At the same time; we’re sending a big hello to the new writers and contributors who feature in this issue which has fantastic photos and stories from the Adelaide music scene, and from Victoria.

On a more serious note; last year ended with scorching temperatures and terrible bushfires which continue into this year.

MEGAscene sends condolences to all those affected by bushfires particularly the families of the volunteers and residents whose lives were lost; the injured, and for the loss of wildlife and habitat which has been significant. Please take care everyone, happy new decade to all - 2020 .... bring it on!

Michelle

Deputy Editor, MEGAscene

Front Cover Photo: Craig Holden, The 1965 Masters Apprentices Back Cover Photo: Misex Front & Back Photos: Sue Hedley

All materials published in MEGAscene are subject to copyright. No part may be reproduced without prior written permission from the publisher. The opinions expressed in MEGAscene are not necesarily those of the editors or publisher. No responsibility is taken for the contents or illustrations of advertisements. This linking to other sites within MEGAscene is provided strictly as a courtesy

by Rising Star Media for the convenience of its’ users and Rising Star Media is not responsible for the content of any site linked, or linked within a site, nor does it constitute the endorsement of the web sites or of their policies, products, services or delivery of goods.

Rising Star Media will not be held accountable for the content of any postings contained in any site linked or linked within a site, nor does it deem reliable any offers, expert advice, financial opportunities or otherwise that any such postings should imply.

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MEGAscene is honouring Andrew ‘Greedy’ Smith and Stuart ‘Chet’ Fraser, two Australian performers who passed away in December.

Greedy Smith was a founding member and songwriter of Mental As Anything. He died after suffering a heart attack in his car on December 2nd. He was aged 63.

Both are a great loss to the Australian music industry, family, friends and fans. May they both rest in peace.

Vale

Andrew “Greedy” Smith

Photo: Sue Hedley

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Guitarist Stuart ‘Chet’ Fraser died on 1st December after a three-year battle with lung cancer.

Stuart was the lead guitarist in 80’s rockers Noiseworks, fronted by Jon Stevens.

He played in the John Farnham Band for many years and in the 1970’s he was in Blackfeather and Feather.

Rest in peace Stuart.

Vale

Stuart Fraser

Photo: Sue Hedley

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The Rustlers

By Cheryl Lee I have a theory about rock and roll being the fountain of youth and The Rustlers certainly prove that theory.

Walk past the Astor Hotel in Adelaide’s CBD on a Sunday and you might be lucky enough to hear The Rustlers playing their regular monthly residency. Pop on in and you will find a band that is a cross between your favourite rock band and The Beatles - with a little bit of country thrown in. This is a band with an amazing ability to get a crowd off their seats and up onto the dance floor. Even this Cold Chisel aussie rock chick couldn’t help but join the throng shaking their tail feathers to the band’s original songs, singalong lyrics and catchy riffs. These are songs of a calibre not seen since the early sixties.

It wasn’t until interviewing The Rustlers for Mega Music TV last month, that I became aware of their amazing musical pedigree.

Forming in 2001, the eventual and permanent line-up consisted of Gary Burrows, Derek Manning, Garry Gailes and John Murphy, burst onto the scene with their first album Broken Pieces. Then followed 14 new and original songs on Sad Dark Lies in 2006, and another crop of originals on Leavin’ Me in 2008 and Born To Love You in 2013.

The band’s lineup changed in 2017 with the sad passing of original bass player Derek Manning, previously of The Exiles with his brother Phil Manning, and then The Harts.

The current band consists of Gary Burrows, lead singer, guitarist and songwriter, who has been working in the music industry for the past 57 years. For 33 years Burrows managed APRA in Adelaide and he is currently the chairman of music-based charity Support Act SA. Burrows played in various touring bands such as Brass Carnival, and he is still performing with The Boys. Burrows has been inducted into the SA Music Hall of Fame, the SA Country Music Hall of Fame and has received a Lifetime Achievement Award from Music SA. Former bass player with The Twilights, John

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The Rustlers Photo: Sue Hedley

Bywaters joined The Rustlers with the passing of Derek and recently also joined 5 Sided Circle who can sometimes be rocking it out at the Astor Hotel on Sundays. He previously played with The Hurricanes, John Vincent’s Ken Oath Ochestra and InSect. John is the Vice-Chairman of Support Act SA and was inducted into the SA Music Hall of Fame with The Twilights.

Garry Gailes’ friendship with The Moondogs led to a discussion with their then drummer, Gary Burrows, who was planning the emergence of The Rustlers, starting a 20 year journey. Gailes’ is regarded as one of the most consistent and solid drummers in the industry today. Garry has also toured America with the backing band of Del Shannon.

John Murphy joined The Rustlers at the beginning, ensuring the riffs and solos were particular to the work and not just an easy option of well-used scales and patterns. John’s lead guitar playing helped shape the sound of The Rustlers together with his amazing harmonies, with Gary, that punters have likened to The Beatles and early sixties sound.

Peter Goers once said, “The Rustlers are hot. What a great South Australian band.”

And if Peter Goers says it, it must be true!

Apart from their peerage, in the words of Johnny Cash, they’ve been everywhere man!

The Rustlers have regularly supported Australian music legends including Cotton,

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Keays and Morris, played at two Clipsal 500 After Race Concerts, attended the Birdwood Country Music Bash with James Blundell, the Port Pirie Festival with Troy Cassar-Daley, closed the SA Showcase in Tamworth, appeared at two National Toyota Musters in Gympie in Queensland, supported José Feliciano, rocked the Rock and Roll Rendezvous with Normie Rowe and cruised the 2011 Cruisin’ Country music cruise. They also backed John ‘Vinnie’ Vincent in his last videoed public performance at the Cavern in Adelaide.

Should you ever get the chance to see these young fellas, I thoroughly recommend that you do. We’ll take a walk down memory lane together, dance the night away like we did when we were teenagers and discover that fountain of youth I was talking about!!

John Rose

John Bywaters

Gary Burrows

All photos by Sue Hedley

John Murphy

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MEGAreviews live The 1965 Masters Apprentices @ The Gov 02/11/2019

by Mark Thurston

Having grown up going along to watch the Masters Apprentices, I could only wonder what I was in for. The lineup of The 1965 Masters Apprentices has members from the original Masters mixed with current seasoned players, and yes, there’s a girl in the band too. Craig Holden is a great choice on lead vocals and gives the band the energy we always expected. Adding female vocal gives the band a versatile edge.

They played two long sets and gave their fans a treat. There were a few covers in their performance, but they chose really well with artists like Hendrix in the mix and nailed it. I was happy to hear all the originals I grew up with performed true to form and I thought the female vocal in the mix was excellent. Thoroughly enjoyed myself and “Turn Up Your Radio” was indeed the perfect way to end the show.

I did hear one guy complaining that it wasn’t all the original lineup, but five decades and natural attrition leaves them little choice. Great show, great music and I enjoyed every minute of it.

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The 1965 Masters Apprentices @ The Gov Photos by Sue Hedley 02/11/2019

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MEGAreviews Blues Portrait

by Michelle McGoldrick Blues Portrait - A Profile of the Australian blues scene was written for music buffs of every distinction who are interested in the journey of musicians who knowingly embrace blues music. The book is both a history and snapshot of Australia’s blues music industry as recounted by musicians whose involvement in Australian blues music begins in 1946. The book takes the reader into the backrooms, the gigs, loungerooms and studios of musicians who share their lived experience of a music genre that Max Crawdaddy describes as “a universal experience [that] influences personal journeys.”

Author Pauline Bailey spent two and a half years compiling and documenting forty six Australian performers who shared facts, poignant moments, tell-all tales and muso lingo to document a genre of Australian music that seemed to be missing from music archives. Pauline explained, “I began by asking a couple of musicians I knew and they thought the book was a great idea. So I got in touch with a few other musicians, and each person led me to someone else, so the book definitely took on a life of its own.”

The book showcases known blues legends, but it also features some surprise additions like multi-facted musician Shane O’Mara, Steve Lucas from X, and Hoodoo Guru guitarist Brad Shepherd. Pauline said, “the book is not just for Blues purists, it’s also about artists who have been influenced by blues music.”

Blues Portrait is packed with fast facts: in 2001 Adelaide’s Gwyn Ashton was voted number three “Guitarist of The Year” in France’s Guitar Part Magazine behind Jeff Beck and Gary Moore. Phil Manning toured this year celebrating 50 years of Chain.

Melbourne’s Fiona Boyes is a USA Blues Music Awards multi-nominee. Ross Wilson was listening to John Lee Hooker records when he wrote Eagle Rock. Midnight Oil drummer Rob Hirst reckons he gets to play with the best Australian blues musicians around in

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the Backsliders. Kerri Simpson was the first female Australian artist - and one of only a few Australian musicians at all - to perform at the New Orleans Jazz and Heritage Festival.

Guitarists may seemingly dominate the Blues persona, but the expectation that only the ‘blues man chords’ personify this genre is overridden in Blues Portrait.

The book cracks open the expanses of Blues music through musicians like Stuart Anderson and Ash Davies who get down to their blues roots through their drumming; piano maestros like Chuck Leavell offer insights; as do bassists Ben Wicks and Sweet Felicia, and harmonia player Dave Hogan.

Pauline’s journey granted her one of the last interviews with Chris Wilson, “I was very fortunate to interview Chris for the book nine days before he passed away.

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I am so grateful to his family for giving me that opportunity. He was a humble man, such a nice man. His wife Sarah has written a beautiful tribute to him in the book which is very special.”

Blues Portrait could easily become a literary resource on blues music in Australia as it unpacks the journey of blues music throughout Australian music scenes over a period of time. If, as Max Crawdaddy says, the heart of any blues song is the story telling; then this is the unique character of Australian blues music - the music is doing the talking.

Pauline and family - Dave,Shane,Melissa,Pauline Photo: Nora Howard

The back cover of Blues Portrait

To order your copy of Blues Portrait go to: Online store: https://store15455084.ecwid. com/ Book details: 7 x 10 inch softcover first edition 2019, 386 pages $39.00 plus $10 postage For more infor contact Pauline Bailey Email: baileypauline38@gmail.com www.facebook.com/BluesPortrait2019/ www.instagram.com/bluesportrait19/ Photo: Major Think Photography

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Blues Portrait Book Launch Sunday 10th November 2019 @ Rainbow Hotel “Blues Portrait” book launch was at The Rainbow Hotel in Fitzroy, Victoria on Sunday 10th November with live music from Checkerboard Lounge. All photos supplied by Pauline and used with permission.

Checkerboard Lounge Photo: Pauline Bailey

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Jerome Smith & Max Crawdaddy Photo: Max Crawdaddy

Dave Hogan & Pauline Bailey Photo: Max Crawdaddy

Phil Manning & Dave Hogan Photo: Major Think Photography

Max Crawdaddy & Jeff Lang Photo: Max Crawdaddy

Speeches Photo: Major Think Photography

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Kim Volkman Photo: Major Think Photography

Checkerboard Lounge Photo: Stuart Anderson Photography

Checkerboard Lounge Photo: Stuart Anderson Photography

Pauline Bailey & Phil Manning Photo: Philippa Riddiford

Manny Gauci and Dave Hogan Photo: Max Crawdaddy

Photo: Major Think Photography

Pauline signing books Photo: Major Think Photography

Photo: Major Think Photography

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Pauline Bailey

By Michelle McGoldrick Born in Oakleigh, Victoria, Pauline Bailey is an artist best known for her depictions of Melbourne buildings and its’ live music venues.

Pauline is also a music fan with a deep love of the blues and Australian music. In 2017 Pauline collaborated with Kim Volkman to edit and publish Kim’s autobiography, The “Devil Won’t Take Charity”, and in 2019 they collaborated again on Kim’s second book, “For Those That Dance With The Skeleton”.

“Blues Portrait” is Pauline’s first book.

“I’m foremost a painter but I’m always working on something whether it be painting, drawing, photography or writing. I get a great deal of enjoyment from making art and although the book was a completely different medium, I enjoyed it as much as I enjoy painting. To me, it was another way of painting a portrait except using words instead of paint! Writing is a new venture for me.”

It was after completing the first two books with Kim that Pauline decided to write Blues Portrait and quickly the book took on a life of its’ own. “The book evolved as it went along after I began asking people that I knew for their input, they thought it was a great idea. I contacted more people, and each person led me to someone else.There was no big plan at the start of it, I kept digging deeper into our local blues scene for insights from our musicians in Australia. It was important to me to consider not only blues purists but also people who were influenced by the blues who have taken it somewhere else to show how broad the scene is.”

“I began interviewing musicians and compiling their stories with a view to put them into book form. I think we have an amazing amount of talent in Australia and whilst blues music is very popular it’s often overlooked. As the project progressed I had more and more interest from musicians and I ended up with forty-six contributors.”

Pauline’s labour of love ran over two years to completion and was not without its’ challenges, “the book took two and a half

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Pauline Bailey

years to complete. I did everything myself including the interviews, transcribing, editing, photo layout and cover, promotion, etc.

It was a massive project, I didn’t realise it would grow to the size it did. The greatest challenge was transcribing the interviews which can be very time consuming and then, of course, the process of sending the transcriptions back and forth for any alterations/edits. I wanted the contributors to be 100% happy with their finished piece as I wrangled forty-six people and having fortysix chapters in various stages of completion.”

“The other challenge was making the decision to stop collecting material and actually get the book finished, edited and published - especially as I still had a list of people I hadn’t been able to interview, so I had to make the decision to cap it at forty-six.”

Blues Portrait is now cited as documenting a last interview with Chris Wilson. Pauline is both grateful and heartfelt for the honour, “speaking to Chris on the phone nine days before he passed away will stay with me forever. His wife Sarah has written a beautiful tribute to him in the book which is very special.”

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Not surprising; Pauline has loved blues music most of her life, “I realise now most of the music I like features slide guitar. Pete Wells remains my favourite artist. Southern Lightning band ... I remember hearing them for the first time and to me it was such an authentic blues sound - Dave Hogan’s voice was like nothing I’d heard before with beautiful slide guitar from Manny Gauci.

Then I went on to discover people like Johnny Winter, Ronnie Wood with the Faces, Keith Richards, Kevin Borich, Dave Hole.”

“I’ve been going to see Rose Tattoo for almost forty years. The current line-up includes Mark Evans and Bob Spencer, so it’s a totally different band to what it was but it’s still a powerful, rockin’ band and it’s great to see them touring here and overseas.

I’m very happy to have Pete Well’s partner Lucy Desoto included in the book, it’s nice to have that connection [in the book] with people who are no longer with us.”

Pauline noted special inclusions in her book that have particular relevance to her, “Billy Thorpe and Lobby Loyde get a mention in the book as two of our most influential guitarists.

I was lucky to see perform together in Churchill not long before they passed away.

My son and daughter were with me – they were only little at the time and they got to meet them both which was pretty special.

The night before that gig I was at the Ian Rilen Benefit at the prince in St Kilda. Rose Tattoo headlined and Billy Thorpe joined the Tatts for the Don Nix tune “Going Down” and Chrissie Amphlett got up with The Hoodoo Gurus and sang “I’ll Make You Happy”.

Blues Portrait is a concise and thoughtful construct of blues music in Australia and Pauline has plans for a second book, “there are many more people I could interview so I’m now in the process of working on a second volume to hopefully include these people,” Pauline said. “I want to see some of these artists get the recognition they deserve.”

KIm Volkman resonator Photo: Major Think Photography

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MEGAreviews live

DAF. Melbourne Music Week @ Melbourne Town Hall 17-11-2019

by Michelle McGoldrick Melbourne Music Week threw everything at its’ 10th anniversary this year with an inspired lineup of local and international acts including Stonefield, Body Type, Total Control, Sarah Mary Chadwick and Robert Henke. Over 350,000 music lovers have enjoyed MMW in the past ten years and this year Melbourne’s cityscape was utilised as venues for the festival - Melbourne Town Hall, the State Library of Victoria, the Argus Building and Australian Centre for the Moving Image.

(ACMI) The gig that had Writer On The Road jumping up and down was the inaugural Australian perfomance of German electropunk duo DAF (Deutsch Amerikanische Fruendschaft.) Forty one years in the making - everyone at Melbourne Town Hall was pumped and three support acts set the adrenaline before DAF’s appearance.

COMPLETE gave three intermittent sets but nothing interrupted the nerve-steeling flow of their sounds as they delivered hesitant tones which commanded the audience to sit in the anticipation and enjoy the ride to no particular destination. COMPLETE’s final set saw the singer return to the stage with skin coated in white and wearing a g-string. It was a reminder of a time when male performers weren’t afraid of a little flesh on stage, or when men would dress up (or down) for fun. Control offered naked theatre, industrial mime, physical poetry and inhuman roaring whilst the hooded menaces at the vocalist’s side helped create the apocalyptic, hypnotic trance. Backing tracks were crisp, linear - and at times catchy as a pop song and equally transparent in their quest to shift boundaries between music and theatre.

Final support was Total Control whose singer merged anarchistic tones reminiscent of the ghosts of Ian Curtis of Joy Division, Dugald Mackenzie from Melbourne’s 80’s punk visionaries Venom P. Stinger, with odd shades of Peter Garrett’s stiffened moves. Was post punk ever so sure of itself as Total Control? Sure enough to belt out mean bass lines that took precedent at times against backing guitar riffs that even sounded a little pretty - but not for long. The set at Melbourne Town Hall started friendly enough, but it gradually progressed to a garage punk journey that threw in upstarts like a melodic, Hendrixinspired blast of wah-wah, or shards of contrasting

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The DAF gig poster

experimental electronica. The band are selfproclaimed fans of post punk synth and drum machine programming and Total Control know how to capture the soaring optimism of the post-punk period when electronica infiltrated music and freed it from the restraints imposed by a punk movement that had gone on too long and imploded on itself. After punk, music wasn’t afraid of anything anymore and Total Control dive right into the joy. .

DAF: a grinning Robert Gorl finally swaggered onto the stage and the electricity coming from the audience could have lit the band’s synthesisers. Gorl flicked the presets, then slid in behind the drum kit and waited for the original electro-punk Gabi Delgado-Lopez to appear. No frills, no gimmicks, stern but elegant; DelgadoLopez quickly radiated his distinct communicable style by using his body as much as his voice to connect with the audience: crouching low to sing straight into the crowd, intense eye contact the man has no fear of his Melbourne comrades who have idolised DAF’s sound since the 1970’s.

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Gorl’s warmly robotic drum sounds which faded out in rhythm and blues. Always one for surprises; a fun and frisky inclusion to the set was Delgado-Lopez’s arse-slapping homage to disco which hit the right notes of camp and grind.

Three encores ended the night including Delgado-Lopez’s slapstick Sieg Heil in a ‘blink and you’d miss it’ moment from the wings of the stage. Far from paying homage to a gesture that is illegal in Germany (and other parts of the world), it was a defiant sign that DAF’s music will never be shy of the influences it rebelled against for the ultimate victory.

Melbourne Town Hall Photo: Michelle McGoldrick

Gorl worked the kit by adding nothing particularly visual but a live drum sound, particularly the loose snare skin, sounded pleasurably shabby within the mass of electronic power. DAF’s programming delivered bottomless rumbling punches which backed heroic vocals and contentious gestures including a mock arm salute - DAF are a long way from Germany yet never quite German enough anymore it would seem.

Delgado-Lopez sang and talked in Deutsch throughout the entire set where references to the homeland were frequent and hardcore nostalgia was played out through the songs: DAF in 2019 is heavy and sharp as ever, just as DAF can be cold and brutal as they ram the industrial love home where it hurts most. These nightclub kings cause no loss of blood from the pumping beat of the 80’s, and they know how to take an audience into very dark and impish places in equal measure. Not surprising, the beat-addicted “Der Mussolini” created an immediate wave of movement with its’ gleeful pump and once contentious lyrics of dance the Mussolini … dance the Adolf Hitler … move your ass around (noting in interviews DAF said their lyrics were parodies of words and phrases and merely reflected Delgado-López’s fixations with the sounds in particular words.)

DAF’s music will always be synonymous with sex beats and hard partying and DAF at Melbourne Town Hall was sex on a stick for the devotees with relentless stamina and validation of human interaction with the power of the electronic instrument.

Melbourne Music Week excelled itself by bringing DAF to the festival where audiences were pinching themselves to check if it was real ... DAF, Melbourne, 2019. Surreal times.

Dankeschon Melbourne Music Week - you just keep on giving.

Total Control Photo: Michelle McGoldrick

“Kebab Traume” took off with shady references to counter-culture, spies and barbed wire in Germany held together by

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Chain @ Beach House Cafe Photos by Sue Hedley 24/11/2019

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The Lunchcutters @ The Bridgeway Hotel Photos by Sue Hedley 16/11/2019

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MEGAreviews live Mark Of Cain @ The Gov 30/10/2019 Words & Photos by Shaun Whitelum The Mark of Cain (TMOC) were back in town to celebrate the 30th anniversary release of their debut album, ‘Battlesick’. Released in 1989 the album is one of Australia’s most iconic recordings honouring a time when the Adelaide music scene was significantly healthier and vibrant than today and was intent on developing it’s own new sound that extended well into the 90’s. Special guests The Messthetics opened both performances at The Gov to a sold-out crowd on Friday the 25th and near sold-out show Wednesday the 30th of October.

TMOC’s style is a crossed-genre collection of alternative, hardcore rock which the band excels in and fuses together strategically.

The result is song composition that’s in your face, confronting, aggressive and intense, together with unquestionable thought-provoking, insightful lyrics delivered directly to you whether you’re listening to the album or viewing a live performance.

When the band hit the stage at The Gov it was a graceful, but brutal infusion of intense sound with expeditious timing and delivery of a coordinated musical attack synonymous with precision and articulation that defines the three piece group as one of Adelaide’s longest surviving and most enduring bands. Eli Green’s percussive skills provide the foundation for TMOC, he’s got the precision and technique that suits the band down to the ground, and Eli has cemented himself behind the kit with this being his second tour with brothers John Scott (vocals/guitar) and Kim Scott (bass).

The band opened their first set with an explosive “Wake Up” - all credence given it was their night and they smashed it. You know, it’s funny how the atmosphere in The Gov aired itself with a quantifiable presence which leaked anticipation, drilling eagerness and energy - the night was in honour of ‘Battlesick’ and it was full on boots ‘n’ all

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kinda stuff (figuratively speaking). The band went on to play the album in its entirety and the audience was all there, wanting more.

Other highlights from the ‘Battlesick’ setlist included “Call in Anger” and “Deadman’s Mail.” The ‘Battlesick’ set expeditiously finished with another gem “Summertime”.

The predominately male constituency roared rapturously throughout the show, none more so than when the second phase of the show hit the carpet with “Interloper” from the brilliant 1995 album ‘Ill At Ease’. The song’s sonic presence coupled with thunderous power provided sounds which left the crowd wanting more. “Familiar Territory”, a hell of an ear crunching song, has sheer force and tightness and this is exactly how you want to hear it live and it was formidable.

Followed by “Heart of Stone” the show really began to expand it’s breadth and depth.

Crunching the numbers: we asked, “what are they going to close out the set with?” It seemed they’d resisted playing the best until last (101 in set-list performance strategy) firstly beginning with the jewel “LMA”. This track has a special meaning for many people in Adelaide, and it was brilliantly delivered delicately and significance that sent a powerful message. The show closed with one of the best TMOC songs, “Point Man” and for those who may not know the song it highlights the special men whom acted as the head of a patrol (Vietnam in hoc casu). Considering they were the ones who faced death on a highly intensified basis, many of them succumbed at very high rates. The song’s complexity and lyrics could be easily misunderstood especially when attempting to analyse the significance, intention and context of such a volatile theme, but it really is a prolific song.

Tonight, TMOC delivered one great song after another celebrating their musical achievements dating back 35 years to mid 1984 when brothers John and Kim Scott first

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formed the band. One thing is for sure, the band will be back doing it all again next year. For the diehard enthusiasts and old-school music fans, there is a remastered 30th Anniversary ‘Battlesick’ vinyl to coincide with the tour.

GWYN ASHTON TOURS AUSTRAIA UK-based singer/songwriter/guitarist and SA Music Hall of Fame inductee Gwyn Ashton is touring Australia right now. The list of world-class artists that Ashton has collaborated with, worked alongside, opened for, or jammed next to and even hung around with is basically a who’s who of the music biz: Stevie Wright, Swanee, Jim Keays, Rory Gallagher, Mick Fleetwood, BB King, Ray Charles, Van Morrison, Status Quo, Johnny Winter, Peter Green, Slade, The Sweet, Canned Heat, Magnum, The Troggs, David Crosby and countless others. But he’s not just some anonymous sideman: The gritty Australian singer-guitarist has also released a slate of solo albums, including his most recent effort “Sonic Blues Preachers”, recorded in Adelaide with John Freeman on drums, from the pre AC/DC Bon Scott-fronted band Fraternity.

Advertising available in MEGAscene Advertise your band, business, product or service For more info contact Sue @ MEGAscene Email: suehedley01@gmail.com 23

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MEGAreviews live Boom Crash Opera @ The Gov 01/11/2019

by David Powell Well peeps it’s Friday night in Radelaide and what better venue than The Gov to see your favourite artists and celebrate live music.

Boom Crash Opera returned for their 30th Anniversary Tour, “These Here Are Crazy Times” to a capacity show at The Gov. Boom Crash Opera’s sound was described by musicologist Mr Ian MacFarlane as: “the tight, funky rock of the music, the boomlike crack of the drums and the work song chant of the vocals”. I totally agree with that. The double platinum selling These Here Are Crazy Times! was released under the WEA Label in October 1989.

Boom Crash Opera played three songs that charted well in their second studio album, namely “Onion Skin”, “Get Out Of The House” and “The Best Thing”, which saw BCO break into the lucrative US market.

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After the show I caught up with vocalist Dale Ryder and guitarist Peter Farnan.

It was good to see Dale Ryder back fronting Boom Crash Opera.

Dale Ryder said, “Holy shit I had one of the best times I had in about fifty years, that’s why tonight was amazing and I just really enjoyed it and I hope they did too.”

“First time we have played many of these songs for 30 years and we were going wooowww, it’s like being on a ship on a stormy sea,” said Peter Farnan.

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Boom Crash Opera @ The Gov Photos by Sue Hedley 01/11/2019

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Live Sound Advice

by Frank Lang

THAT 810 SOUND

I think it was 1977 music shop down the Goodwood road caught

and a little city end of my attention.

I’ll pop in here I thought, all cashed up and in my second year as a design teacher at Taperoo high school and in that shop I met a young Peter Vitek. He was a young gogetter in his first music shop endeavour.

Hmmmm I thought glancing at some gear I had not seen before, not your run of the mill Fender and Gibson stock.

I believe he mentioned having bought out some stock from a Sydney music shop which had gone under.

I spied some Hagstrom guitars and basses and an Ampeg 810 box and Ampeg V6B 240 watt head. I tried the Hagstrom Scanbass fretless, plugged into the V6B and 810 box and I was sold. I’ll have this lot thanks Peter, and to this day I am the proud owner of one of the finest basses on the planet, the old Hag, as I love to call it, 40+ years old.

I was young and lugging around the fridge, the 810 cabinet, was something I believed to be a baptism of rock, a right of passage and a real pro rig.

Ampeg stopped shipping to Australia around 6 years later but the 810 bug had bit hard.

I was now sound guy for Some Dream and Mickey Finn and being a big fan of the bass player Bruce Howe. Well ... I supplied my rig to Bruce almost every gig and in the early days augmented it with a double fold bass bin with a JBL K140.

Not a bad rig played by one great bass player, and occasionally by me.

I learned a so decided

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lot to

about 810 boxes go into business.

I built a full size 810 and sold a few, then built a slightly smaller 810 which I named the Rager, and sold a few of those too. I still use it for bigger gigs to this day, it’s on wheels so there isn’t too much lugging involved. As for the secrets of why 810’s are so highly regarded, well I’ll keep them to myself, but if you own one of mine, it will be getting a little long in the tooth by now so feel free to get in touch and I will give the beastie a service.

After 50-60 boxes sold with not too much profit due to Behringer 810 undercutting with price and even Ampeg getting back into the game l had to give up the chase but am still proud of the time I was 810 King in Adelaide.

I’ve heard a rumour that the Barflys are getting back together and am reliably informed the guitar speaker of choice is my full size 810, will wonders never cease??? Look forward to catching up on that one. They must have roadies!!!

Till then Bass is Ace. Cheers, Frank Lang

Adelaide is a

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MEGAscene • Issue 20 - 2020

MEGAreviews live OK Motels: Charlton, Victoria 23/11/2019

by Michelle McGoldrick - Writer On The Road Charlton, northern Victoria: a town where many buildings are original and need painting - and that’s not a bad thing. An agricultural and farming stop, Charlton has for years drifted along as a mecca for tradition, peace and quiet. That is, until the OK Motels crowd started to arrive.

Founded by Kate Berry and supported by Melbourne Radio 3RRR, the Ok Motels gigs series started in 2018. At the November 23rd gig, locals and blow-ins well and truly frocked and rocked to a hard core lineup of Melbourne grunge punk bands who speedily made the three hour trek up the Calder Highway.

Opening act Moody Beaches set a high bar with bitch bass, guitar and an accomplished drummer who plays like she has the world at her feet. This tight powerhouse of rock grunge knuckled down and cranked up with complete confidence, aptitude and attitude. A very impressive ring of noise and definitely one to watch into the future.

Second act Pinch Points: thrash rock, fearless and relentless. Opinionated and unapologetic for not playing the game - they perform like they’re prepared to throw anything back at you. A crowd favourite. Just don’t stand too close.

Moaning Lisa: If grace and grunt could ever be placed in the same sentence ... this band reinvented the phrase owned the stage. A rock photographer’s dream; the hair-flicking, guitar neck management, and genuine ease on stage showed the crowd how postCanberra grunge rock blasts light and dark.

Fourth band of the night, Batpiss, didn’t waste any time in hitting a cock rock wall of self assured, blues-punk inspired force. The sound was nasty and built on an intensity that drove a domineering and unstoppable wall of exploding frustration which again prompts the question: what is it about these three

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piece bands that creates such badass energy.

With little time to catch their breath and refill drinks between sets, the crowd set the party floor on fashion fire with a jump and flow of fluorescent dresses, flouncy shirts, purple makeup, boiler-suits - and treads (as in shoes.) DJ Hot Wheels spun the 80’s hits of Dragon, Big Country, ‘M” and everything in between. At one point it sounded like Buggles was going to kill the video star but we were saved in mercifully good time by the onset of the next band who bid goodbye to Bucks Fizz to refocus on tunes of anti-conformity.

Main act, Amyl and the Sniffers, faced a crowd that were adoring and itching to pogo.

This was road rock, ‘burbs bangers, an ockernot-mocker pastiche of styles which sounded like a derision from all that has become precious in rock music today. Between the singer’s head banging style of a force not seen since the days of Angus Young’s fame, the bass player’s sharpie haircut and naked torso, and serious intentions of the rest of the band - this act is mesmerising in its’ edge of hardness and lipstick smiles of lead singer Amy Taylor whose sex appeal, slang and stage moves lead the band into wild performance territory.

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With angst and anger this band sweep away the preconceptions of music from the past 30 years as they make it clear they abhor bullshit. Their music demands truth as it tears down boundaries of isolation and the homogeny of modern music that has crept in since corporatization, streaming and en masse home recording software took over.

It was also validating to watch Taylor stage dive into the crowd and be handled with respect in the mosh pit.

Ok, Motel: it’s hip, edgy and visionary when a tribe of independent minded and free thinking groovers infiltrate a rural town to embrace original 70’s decor, curiosity and smash music divides. Bonding over pool competitions, pies from the local pastry shop and meat raffles; the OK Motels weekend is now a rite of passage for many.

Inclusion, defiance, and freedom from constraint fuelled by the incredible energy of the music; the Ok Motels gig in Charlton on November 23rd will be remembered for the great party that it was but also for the signalling of a rebellion in the making.

End piece: Four days later Amyl and the Sniffers won Best Rock Album at the 2019 Aria Awards in Sydney.

Road sign outside Charlton Photo: Michelle McGoldrick

Headliners- Amyl and the Sniffers Photo: Michelle McGoldrick

Pinch Points Photo: Michelle McGoldrick

Trendy Treads Who owned a pair of these in the 70’s?

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MEGAscene • Issue 20 - 2020

In Concert Series 5 Following the sell-out success of the fourth In Concert Series at the 2019 Fringe season, Rob Pippan Productions and The GC - Great Concerts announces the “In Concert Series” 5 at the 2020 Adelaide Fringe, Thursday 13th February – Saturday 14th March.

The 2020 Fringe brings a change of format to the In Concert Series, now expanded across multiple signature Adelaide venues – including the Gov, Gluttony, the Arkaba Hotel, the Goodwood Institute and the Star Theatre – as well as Victor Harbor’s McCracken Country Club.

RPP and The GC Great Concerts have brought together some of Adelaide’s most up and coming producers and their shows under one banner. The In Concert Series presents leading national and local acts, original artists and tribute shows.

One of series’ featured artist is Australian music icon Richard Clapton. Clapton is one of Australia’s foremost singer/songwriters. He paved the way for three generations to write about the experience of being Australian.

Ten years after his first release, Clapton was a tribal elder to whom younger artists like Jimmy Barnes, INXS and Cold Chisel turned to as a mentor. Clapton is now in his 45th year, since his first album 1974 but shows no signs of slowing down. In 1999 he was inducted into the ARIA Hall of Fame.

Ross ‘The Boss’ Wilson has fronted charttoppers Daddy Cool and Mondo Rock, written smash hits such as Eagle Rock, Come Said The Boy, Cool World and A Touch of Paradise.

Joining The Boss and his rockin’ band is special guest Pat Wilson who will be performing her hit Bop Girl and more boppin’ tunes in a night of non-stop hits “Boppin’ With The Boss!”.

As a solo artist Ross has twice been inducted into the ARIA Hall of Fame. With no less than 26 ARIA Top 40 hits to his credit as a singer, songwriter and producer, Ross is an absolute Australian rock legend, having entertained Australia for almost half a century. Ross and his full band ‘The Peaceniks’ perform all his original hits on this exceptional fringe exclusive night.

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Ross Wilson Photo: Sue Hedley

50-year veteran of the Australian music industry, Russell Morris returns to Adelaide for an unmissable Fringe show. It was 50 years ago when Morris became the first Australian artist to score consecutive no. 1 singles with his first 2 releases. Both reached #1 on the Australian chart, & what followed has become one of the most notable stories in contemporary Australian music. In 2015, Morris released Red Dirt–Red Heart which won the coveted Best Blues & Roots Album at the 2016 ARIA Awards. In April 2019, Morris released Black & Blue Heart, a track proving to the industry that he can still create incredible music. Through it all, he remains one of the hardest working musicians in the country.

Created and performed by renowned Australian actor/musician John Waters and esteemed singer/pianist Stewart D’Arrietta; Lennon – Through a Glass Onion is part concert and part biography, revealing

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the essence of the life and astonishing talent of one of the most admired icons of the past century. It’s a compelling story and features 31 iconic hits of Lennon and his collaborations with McCartney including Imagine, Strawberry Fields Forever, Revolution, Woman, Lucy in the Sky with Diamonds, Working Class Hero and Jealous Guy. Stewart D’Arrietta and his superb band return to the Fringe to celebrate the late, legendary Leonard Cohen in My Leonard Cohen through imaginative arrangements of his most iconic music and poetry, punctuated by stories of his life and motivations behind the songs. D’Arrietta and Rob Pippan have teamed up this year to produce “An Evening of Tom Waits Songs” a revival of the five-star Tom Waits show ‘Belly Of A Drunken Piano’.

The In Concert Series also features: • John Brewster of the Angels plays Bob Dylan - This multi-faceted rock legend co-founded the Angels in 1974 with brother Rick & Doc Neeson the band now celebrates 45 years in the industry. John’s passion for Bob Dylan began after seeing him the 60s & his new solo acoustic show will demonstrate the depth of John’s skills as a singer, guitarist & raconteur.

This show will be a reprise of his double sell out shows in the 2017 Adelaide Fringe.

• Hello – Want to revisit the life of Adele? This glamorous tribute performance showcases her smash hits from albums ‘19’, ‘21’ and ‘25’. Come and sing-along with Erin Sowerby (as Adele) to world-renowned ballads such as ‘Hello’ and ‘Someone Like You’under the musical direction of Ray Lindon.

• 1965 Masters Apprentices - Featuring 4 original 1960s members of this iconic band including founding members Mick Bower, Brian Vaughton, Gavin Webb and Rick Harrison (1967). The band is augmented by former SA Jim Keays Band members Rob Pippan, Craig Holden, Ian ‘Polly’ Politis and Nanette Van Ruiten plus Matt MacNamee. Performing the all the hits including “Undecided’, ‘Living in A Child’s Dream”, “Because I Love You”, “Turn Up Your Radio” and many more.

• Rumours: The Fleetwood Mac Show Following their 2019 performance to a capacity crowd & standing ovation hot Adelaide tribute band RUMOURS return perform the music of Fleetwood Mac at 2020 Fringe.

• Bald Eagles: Last World Tour – The Bald Eagles after an over 10 year career perform the great hits of the Eagles, in their own inimitable and often comic way. Presented by Alan Rosewarne.

• Cat, Neil and Captain Fantastic – A celebration of the music of three of the most love singers of a generation: Cat Stevens, Neil Young, and Elton John. Presented by Alan Rosewarne.

“The 2020 In Concert Series is very exciting for us as we are spreading our events over eight new venues and increasing our overall reach and scope. Additionally, we are thrilled to be working with a broader range of artists, and it’s definitely our biggest year yet. It’s a thrill to have artists with the calibre of Richard Clapton, Russell Morris, Ross Wilson, John Waters and Stewart D’Arrietta as part of our overall series.

The In Concert Series has grown from humble beginnings since its first run in 2015 and is heading into the new decade with focus and excitement. Adelaide audiences have consistently come out to our events and we have seen growth in our numbers continuously each year.!”

Rob Pippan, 2019 Event Links: In Concert Series: https://www.facebook. com/InConcertSeries/ Russell Morris – Best of 50 Years: https:// adelaidefringe.com.au/fringetix/russellmorris-the-best-of-50-years-af2020 Lennon Through Glass Onion: https:// adelaidefringe.com.au/fringetix/lennonthrough-a-glass-onion-af2020 Bald Eagles Final World Tour: https:// adelaidefringe.com.au/fringetix/bald-eaglesfinal-world-tour-af2020 My Leonard Cohen: https://adelaidefringe. com.au/fringetix/my-leonard-cohen-af2020 John Brewster of The Angels plays Bob Dylan: https://adelaidefringe.com.au/ fringetix/john-brewster-of-the-angels-playsbob-dylan-af2020 Cat, Neil and Captain Fantastic: https:// adelaidefringe.com.au/fringetix/cat-neil-andcaptain-fantastic-af2020 Richard Clapton – Live at The Gov: https:// adelaidefringe.com.au/fringetix/richardclapton-live-at-the-gov-af2020

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THE GARDEN OF UNEARTHLY DELIGHTS ANNOUNCES 2020 PROGRAM The Garden of Unearthly Delights is marching into action for the Adelaide Fringe’s 60th year, with a host of local, national and international acts invited to inspire and delight festivalgoers once again. The Garden never fails to deliver a magical experience for all those who enter through her gates, offering more than just a night out – but a night to remember.

In 2020, The Garden will host around 112 shows across 17 venues with a program bursting full of comedy, theatre, circus, cabaret, interactive spaces, music, magic and more, from February 13 - February 15.

After seducing crowds in previous years with LIMBO, Blanc de Blanc, LIFE the Show and more, renowned production house Strut and Fret are returning with a fresh show born from the heart of its famous predecessor. Blanc de Blanc Encore will draw sell-out crowds with its deviant style of entertainment, all while boasting a brand-new cast of international stars.

The magic is in the music at The Garden. Music-festival-lovers will find themselves laughing in the aisles at Abandoman – Road to Coachella, or singing at the top of their lungs during Massaoke Mixtape Vol. 2. While rock fans will be entertained by Aussie music legend, in his new show Liquid Nights In Bohemia Heights – jam packed with surprise guests. Adding to the stellar line-up of musical talent are a multitude of incredible acts, both established and newcomers; Ceberano + Co, The Black Sorrows, Tex Perkins, Shades of Bublé and The East Pointers to name a few.

The not-to-be-missed, one-night-only event of the season; musical-comedy trio, Tripod will return to The Garden to perform a show of old and new favourites.

Maintaining The Garden’s reputation of consistently delivering an all-star line-up of standup veterans, Tom Gleeson, Dave Hughes, Effie, Wil Anderson, Frank Woodley, Joel Creasey, Sammy J, Heath Franklin’s Chopper, Cal Wilson and Jimeoin are all making appearances among so many others. Also featuring are adopted Adelaideans Nurse Georgie Carroll and Ivan Aristegueta plus the ever-popular Best of the Edinburgh Fest. International prankster and scammer, James Veitch returns to Adelaide along with solo-debutants, Lloyd Langford and Larry Dean.

The Garden prides itself on showcasing the very best newcomers to the Australian comedy scene; see them in The Garden before they BLOW UP: Nina Oyama, Aaron Chen, Steph Tisdell, Lewis Garnham and the wild ride of rhythm, body percussion, singing, stomping, clowning in Scotland!

From the makers of 2019’s House of Mirrors comes 1000 doors: a new immersive experience that’s a cross between a labyrinth and a horror film. Also returning is the multi-sensory experiences responsible for racing hearts and sell out shows; SÉANCE and FLIGHT will be set up in their ubiquitous looking shipping containers, along with new experience Mummy’s Milk and COMA which invites audiences to take part in a mass experiment and slip into a collective dream.

Our nation’s first people are represented throughout The Garden’s programming each year, and in 2020 we introduce Garden first-timers, Aboriginal Comedy All Stars who after five sell-out years in the UK are returning home with huge belly laughs from the heart of the wide brown land. Casus Circus brings the only Indigenous contemporary circus ensemble in Australia performing Chasing Smoke, which celebrates 65,000 years of old-time ways told through now-time circus. The Garden is honoured to also be hosting Karl Winda Telfer and the Yellaka dancers in Mullawirrayerta / Dry Forest Place, a free ceremony event giving everyone the opportunity to come together in a special cultural sharing and ceremony as the sun sets.

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With the support of The Government of South Australia, through the Department of the Premier and Cabinet and the Music Development Office, the 2020 program includes The Garden Sessions: an abundance of glorious local Aboriginal and Torres Strait Islander artists performing free music concerts each Saturday afternoon.

Physical Theatre and Circus lovers will be spoilt for choice between The Kagools, L.I.A.R (Life Is A Rehearsal) and Werk It. Or for those who want a show with drinks included, the Maho Magic Bar presents an exclusive, interactive, real-life bar scenario where the audience are served drinks by the performers during their very own, private magic show. Or for those who want more illusions and wizardry, star of the hit Broadway show ‘The Illusionists’ Dom Chambers returns with his biggest show yet; Fake Wizard.

Life is forever a cabaret in The Garden and 2020 is bursting! The evil love child of Liza Minelli and Jim Carey Reuben Kaye is back with his self-titled hour plus his famous late night debauched variety show The Kaye Hole. International father of boylesque and Briefs Factory matriarch Fez Fa’naana hosts The Garden Gala every Monday night and 2018 sell out sensation (and charming GP) Dr. Ahmed is back with Cabaret Consultations. Also returning are the ever-fabulous and multiaward winning ensemble YUMMY with a delectable new show YUMMY UNLEASHED. Theatre is literally all around us at The Garden in 2020 with Frankie Foxstone A.K.A. The Profit: Walking Tour taking audiences on an interactive satirical walking tour, revealing her plans for Adelaide’s green spaces; Attenborough and his Animals recreate the magic of the animal world, live … without animals; and Thunderstruck premieres its epic one man roller coaster exploring how the traditions of bagpipes were rocked by a bin man from Pitlochry and how he changed the life of one young piper, forever.

Keeping all ages entertained this festival season will be easy with The Garden’s family program. Families can catch Brass Monkeys which bursts with high caliber acrobatics and a ton of comedy, a new show from favourites Don’t Mess With The Dummies, or the visually stunning Ann-Droid – The Wonderful Adventures of a Robot Girl which combines theatre with interactive projection, funky lights and a robot ball.

Not to mention returning sell-out favourites; Children are Stinky, Monski Mouse and Mr. Snot Bottom’s Horrible Terrible Really Really Bad Show plus a whole lot more.

Tickets to all shows will be on sale via www.adelaidefringe.com.au and www.gardenofunearthlydelights.com.au

featuring music and lifestyle in Adelaide

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MEGAlocal Send your local music news to: rsm@risingstar.com.au FULL TILT JANIS Full Tilt Janis play at the Semaphore Workers Club on 17th January. Catch them there before their Fringe show in March.

ASHES TO ASHES & T.REXoz Ashes to Ashes the David Bowie Experience are supported by T.REXoz The Marc Bolan show in what will be a night to remember at Norwood live.

Brought to you by Jim Sharman. $27-50 entry or Tier 1 Reserved Table SEATING $38 - limited available.

BUSHFIRE BENEFIT CONCERT Some of Adelaide’s finest musicians have joined forces to stage a Bushfire Benefit Concert to be held (at short notice) on Sunday 12th January from 2.30-7pm at The Gov. All proceeds will go directly to those most affected by the devastating 2019 Adelaide Hills bushfires.

To date the devastating fires have resulted in the loss of 1 precious life, 87 homes, crops, vines, sheds and machinery, stock, pets and native animals, leaving countless residents without essentials such as food, clothing and shelter.

Event organisers are partnering with the Hut Community Centre based in Aldgate to ensure all funds are channeled directly to those in immediate need.

The response has been overwhelming from those offering to show their support for the affected community in the wake of these horrific events. The talented lineup includes The Yearlings Band, Ollie English, Don Morrison, Kelly Menhennett, Courtney Robb & Snooks La Vie (ex Hiptones), Nikko Kipridis (Streamliners), Andra Cordell and Satisfaction - The Stones Show, all donating their time for the cause.

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MEGAreviews live Mi-Sex @ The Gov /12/2019

by Mark Thurston

Having worked with Mi-Sex from time to time back in the day, I didn’t know what to expect with the present lineup. Loyalty to the original band runs deep and is hard to over ride, but these guys nailed it. Hard shoes to fill with one original member left, but they really delivered.

Opening with “Graffiti Crimes”, the hits just kept coming. Well performed and true to the original songs, I got what I came for. A front man like Steve Gilpin is a legend, hard to replace, but the new man up front, Steve Balbi, didn’t disappoint. “But You Don’t Care”, “Bad Boy”, “Space Race”, “Blue Day”, “People”, and “Computer Games” all performed so well.

Steve Balbi playing ‘spin the mic stand’ and kissing who it landed on was most entertaining. It pointed to a couple of girls and he kissed them. Then said “F*** it! I’m going to kiss who I want,” and ran into the audience and pashed an unsuspecting guy, (who seemed to love every minute of it).

I got far more pleasure from this this show than I was expecting, both musically and visually, and came away glad to have made the effort.

Would I line up to see these guys again?

Damn right I would! Worth every minute.

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Misex @ The Gov Photos by Sue Hedley /12/2019

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MEGAreviews Gwyn Ashton album review: ‘Sonic Blues Preachers’

by Michelle McGoldrick Credentials first: Ashton’s latest album Sonic Blues Preachers reached #3 on the British Blues Charts in May 2019 and by December the album and feature track “Take Yourself Away” were #1 on Australian Radio Indie Charts. In 2017 Ashton’s Solo Elektro album reached #5 British Blues Chart; he scored a European Blues Award nomination, and he had four ‘Tracks Of The Week’ nominated in Classic Rock Magazine UK. As an internationally recognised musician Ashton has shared stages with world class artists: Rory Gallagher, Mick Fleetwood, BB King, Ray Charles, Van Morrison, Status Quo, Johnny Winter, Peter Green, Slade, The Sweet, Canned Heat, Magnum, The Troggs, The Yardbirds and many others, and has even played with David Crosby in his living room.

Ashton’s solo work unquestionably defines his craft though; Sonic Blues Preachers is Ashton’s ninth solo album and features John Freeman on drums; Freeman and Bon Scott played in the 70’s band Fraternity before Bon left to join AC/DC. Whilst on a solo tour of Europe Ashton recorded his previous release Solo Elektro in the Czech Republic after experimenting and recording relentlessly on his mobile studio to make the new album a live sound recording direct to disc, without overdubs - raw sound in a single take. Quite a gamble for an artist whose previous work drew ego-stroking accolades like, “Pure Genius ... a masterpiece. A solo album Syd Barrett should have made.” (Paris Move, France) Sonic Blues Preachers was recorded in Adelaide using similar techniques to Solo Elektro. It is a fearless album shaped by dirty street smart songs muddied by Mississippi delta hooks laden with every blues influence known to man or beast: rock, swamp, country, a bit of funk here and there; holler, boogie.

The result is a howling album by a guitar ace who challenges riff and melody to the max.

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There’s deep rooted expression in Sonic Blues Preachers and every song on the album hints at a promise to go even deeper: “She’s What I Like” is reminiscent of Jack White’s The Dead Weather with handgun-fire riffs, twisted twangs and a lyrical femme fatale that makes for a grungy blues soiree. “Take Yourself Away” is off-beat wild and the guitar emotion manifests in a raunchy hook which personifies the easy rider blues feel that hangs in the air long after the song finishes.

The track “Soul for Sale” tells of desperation and despair reflective of a musician who has seen it all and knows what it means, “in I walk through that door, to the darkness I’m looking for ... walk the red line with my blues” he sings. Ashton has made the road his home and this rambling man is currently on a tour of eastern and southern Australia knocking over 60 gigs in three months - a schedule guaranteed to break this blues buster’s balls with all the right notes. Preachin’ the blues with Sonic Blues Preacher - Ashton can never be accused of not walkin’ the talk.

Website: http://www.gwynashton.com/ Video Clip:Take Yourself Away https://youtu.be/vwkM2ZyF5ks

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MEGAreviews live Halestorm @ The Gov 09/12/2019 Words by Jo Newman & Photos by Vanessa Deery & Jo Newman Warming up the audience before HALESTORM made an entrance was Auckland band Villiany.

Personally I hadn’t seen these guys live before, but I was impressed with their catchy tunes, big riffs, and energetic alternative rock. These guys have shared the stage with AC/DC, INCUBUS, THE OFFSPRING, SEETHER, and more.

It’s a warm summer Monday night, when a perfect storm came into Adelaide, hard rockers - HALESTORM had arrived to rock Adelaide to the core. Their second to last show of their 2019 Australian Tour.

Growing up in Pennsylvania USA, Lzzy and her younger brother Arejay Hale set their sights on a career in music and honed their skills; Lzzy learning piano from the age of 5, moving on to guitar at 16 and Arejay showing an interest in the drums from 3 yrs old. Late 1997 Lzzy at 13 co-founded HALESTORM with Arejay who was 10, with their Dad playing bass. In the early 2000’s, guitarist Joe Hottinger and bassist Josh Smith joined the band, and within a few years they recorded an EP and signed with Atlantic Records.

HALESTORM soon found success rocking the worlds stage with some of the biggest musical acts in the Rock/Metal scene, such as ALICE COOPER, ALTER BRIDGE, BUCKCHERRY, SHINEDOWN, EVANESCENCE, THE PRETTY RECKLESS, LITA FORD, GODSMACK, THREE DAYS GRACE, DISTURBED and more.

This was their second time performing at the Gov, as part of an Australian tour.

The first time was in 2015, when I also had the opportunity to meet the band.

They were so down to earth and chatty, it was just like catching up with old friends.

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Now for the moment everyone was waiting for … The crowd went wild, screaming out her name and moving closer to the stage as Lzzy confidently strutted out onto the stage wearing 8” inch high heeled boots and belting out “Black Vultures”, the first song on their latest album. I felt this was an empowering song, about someone refusing to give up and they will continue to survive. With a mammoth vocal range, Lzzy can not only sing, she can growl, she can scream and she shreds.

The crowd were here for a rock show and HALESTORM were about to rock our world even more with their impressive set list with “I Get Off” followed by “Mr Hyde” then “Love Bites (So Do I)”. HALESTORM won a Grammy for this song in 2013 for Best Hard Rock/Metal Performance. The title song for the album VICIOUS was next, I felt this song was in a similar vein as NINE INCH NAILS. The song has punch, the catchy powerful chorus “What doesn’t kill me makes me vicious” had the crowd singing out loud, and looking around I could see they were momentarily caught up in that HALESTORM vibe …

Up next, another new one from the album THE SILENCE, a nice acoustic ballad, this song gave me goosebumps and invoked feelings of reminiscing, taking me down some memory lanes of loved ones who have passed away. There’s a small snippet of accapella where the lyrics “I Will Feel You, I Will See You” penetrate your whole being.

Another couple of old favourites of mine, Lzzy started singing “Familiar Taste Of Poison” with a haunting vocal intro that transpired into “Amen” and into extended jamming and shredding between Lzzy and guitarist

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between Lzzy and guitarist Joe Hottinger.

Then we were treated to some funky bass ’n’ drum solo by Josh Smith & Arejay Hale before Arejay cheekily said out aloud “I heard they have some big things here in Australia” before taking out the biggest drum sticks I’ve ever seen, the size of a cricket bat, and started smashing them on the kit. Then Lzzy came back on stage and got things jumping with another great song “Freak Like Me”, then 3 new songs from the VICIOUS album, “Killing Ourselves To Live”, great edgy riffs, chorus, and guitar solo - not surprised if this song ends up on a movie soundtrack as it’s got that vibe. “Chemicals” a song that pays homage to those we have lost and to those struggling with mental illness, the anthemlike chorus, says it all, “But you bleed like me, And you breathe like me, Yeah you hurt like me, We’re all made of chemicals.”

Last song of the set “Do Not Disturb” is ‘a bit on the naughty side’ kind of song; quirky bass lines, seductive vibe, embracing sexuality, perfect for setting the mood.

After some time of the audience chanting that they wanted more they then came back on stage and hit the crowd with an explosive 3 song encore, kicking it off with another favourite of mine “Here’s To Us”.

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Halestorm review (continued . . .)

This is a great song that HALESTORM wrote as their personal anthem about their journey in the band, how they learned to celebrate the low times as well as the highs.

Grabbing their drinks and holding them up high they dedicated this song to all their fans and to how far that we’ve all come together, before Lzzy started the next song “Uncomfortable”, which she dedicated to all the women in the audience. This is a very upbeat song. I got a Gunners vibe about this particular song as it has a heavy 80’s rock/ metal edge to it, with a solid drum arrangement and well constructed guitar harmonies.

A highlight for me was the dynamics of the bridge, with Lzzy’s raw melodic vocal power shining through. Last but not least this rock show ended on a high with crowd favourite “I Miss The Misery”. Their impressive extended outro jam left the fans wanting more.

Up next for this amazing Woman Of Rock is the She Rocks Awards in 2020 where Lzzy will be honoured along with other recipients. In conjunction with the Women’s International Music Network. The ceremony aims to honour women of the past and present who have made an impact within the Music Industry.

HALESTORM will return to Adelaide sometime in the future. If you haven’t seen them live do yourselves a favour and get along to a show. I promise you that you will not be disappointed!!

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The Animals @ The Gov Photos by Sue Hedley 30/11/2019

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MEGAreviews live Alex Lloyd @ The Gov 23/10/2019

by Shaun Whitelum Twenty years ago, Alex Lloyd released his debut album ‘Black the Sun’, the album that officially launched - and to a greater extent - defined his solo career. Tonight, Alex returned to Adelaide to perform the album in its entirety, celebrating the 20th anniversary of what was to become Triple J’s 1999 Album Of The Year, before it went on to reach the height of double-platinum status. If that wasn’t enough recognition of the album’s success Alex won the 2000 ARIA Music Award for best male artist, a triple confirmation if you will. He must have known at the very least he’d made an indelible impact on the Australian music Industry.

tone of Alex’s phenomenal voice and delivery of each track that sets him apart from his peers and critics alike.

Only a couple of years prior in ’97 Alex was in a dark place with his previous band Mother Hubbard on the verge of breaking up and the heartbreak of a recent relationship – the inspiration for many a song on the album. Fortunately, he was able to channel the frustration, uncertainty and turmoil of the time into focusing on what really mattered to him - his music! The result gaining him national and international recognition and success for years to come.

Nearing the end of encore Alex quietly but confidently remarked “are you ready to get your Amaze balls on” as he cunningly looked over the venue knowing full well the song’s status and popularity with female reaction.

The song sparked a rapturous applause for what could be the most popular work Alex has penned when the anticipation elicited many to whip out their smart phones ready to record a visual memory of this special occasion. It’s a hell of a good song, I remember when it caught my attention via it hitting the airwaves in 2001. “Amazing” was an immense favourite if not the highlight of the night (for some), Alex took the opportunity to sincerely thank the audience for coming along to the show. The night finished with “Coming Home” from the album ‘Distant Light’.

International special guests for the 16-date tour were Canada’s HEY MAJOR who are a talented multi-instrumentalist duo consisting of brothers Mickael and Raphael Fortin whose influences are built around a very strong Brit rock culture. Their unique sound is noted for creating explosive chemistry when the duo amalgamates, leaving their listeners encapsulated with the group’s energy and emotion of their live performances.

It was primed to be a great show and it didn’t disappoint. Alex opened with a solo/acoustic rendition of “Bus Ride”, due to technical issues with playing the album. By the 2nd track “Melting” the technical problems were sorted and it was Alex & Co’s distinctive sound and style that then resonated throughout The Gov for what was the be a great night for those in attendance, the unmistakable

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Notable spoils of the night included the track “Faraway” from the ‘Black The Sun’ album, other tracks that have been an integral part (a staple if you will) over the past 20 years were the singles “Black The Sun”, “Something Special” and “Lucky Star” all showing traits of star power. So much so that during “What a Year” Alex attempted to invoke the audience into singing along, but this didn’t really work out so he continued by stating “we can’t all be stars” - a good comeback at the time.

Alex Lloyd seems to be back where he belongs performing live and right at home on stage. It was a great night for those who have followed his music since its inception back in ’99 and for those who have jumped on board along the way. The ‘Black The Sun’ 20th anniversary tour will no doubt stir up many memories and emotions while recreating a 20-year journey of music.

Tonight’s show was a trip down memory lane spanning back 20 years, leaving one asking themselves how did time fly by so quickly.

MEGAscene • Issue 20 - 2020

Alex Lloyd @ The Gov Photos by Sue Hedley 23/10/2019

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MEGAscene • Issue 20 - 2020

Ron Tremaine Musical Extravaganza @ The Gov Photos by Sue Hedley 26/10/2019 Ron Tremaine’s Royal Roasting and Music Extravaganza was a great afternoon of music and tributes to Ron Tremaine. Ron was not well enough to attend so the Roasting became a Tribute. Speakers included Peter Goers, Bob Lott, and Tony Pilkington.

Peter Goers

Sandi McMenamin

Jan McAskill

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Barrie McAskill

MEGAscene • Issue 20 - 2020

Jan and Barrie McAskill

Tony Pilkington

Peter Goers and Bob Lott

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MEGAscene • Issue 20 - 2020

Ian “Polly” Polites Photo: Sue Hedley

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MEGAscene • Issue 20 - 2020

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MEGAscene • Issue 20 - 2020

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