MEGAscene issue 9

. . . featuring music, lifestyle and fashion in Adelaide

Issue 9 2017

Kevin Borich

Dino Jag

Gig photos of Painters and Dockers

Dusty Lee

Gig photos of Electric Mary

MEGAscene • Issue 9 - 2017

Rising Star Media Photography - Video - Design

Photography

by Sue Hedley

Specialising in music industry photography, portraits and events

www.risingstar.com.au 2

rsm@risingstar.com.au

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IN THIS ISSUE 8 16 22 28 34

Articles

Kevin Borich Ian Moss Dino Jag ARBA Dusty Lee & the Wanderers 12 17 20 21 32 33 38 41 43

15 44 46 48 50

Gig Photos

Kevin Borich @ The GC Electric Mary @ The GC Rick Price @ The GC Oranges & Lennons @ The GC Patrick McMahon @ Norwood Live Brothers, Angels & Demons @ The GC Taste @ The GC Painters and Dockers @ The Gov Induction of The Superjesus into the AMC SA Music Hall of Fame

Regular Columns MEGAlocal Live Sound Advice SA Paranormal Markets in Adelaide Maria’s Column

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Orianthi

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Photo by Sue Hedley

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MEGAscene Editor: Sue Hedley Deputy Editor: David Powell Editor’s Assistant: Maria Szczerba Contributors this issue: Allen Tiller Frank Lang Maria Szczerba Brian Cain Louise Miller Carina Bonney Photographer: Sue Hedley

EDITOR’S NOTE MEGAscene is back! We’ve had a short break due to ill health but now we will be back every month with a new issue. Please do have a read and share to your facebook page. We will be initiating an advertising drive so if you have a business or product that you would like to advertise please email us and we will send you details of prices etc.

I hope you enjoy reading this issue.

Regards, The Editor

Sue

Front Cover Photo: Kevin Borich @ The GC Photo: Sue Hedley

Additional Photography: Lisa Vincent David Powell Louise Miller Layout: Sue Hedley 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 2015-2017 All rights reserved

RSO - Richie Sambora and Orianthi @ Adelaide Entertainment Centre Photo: 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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Gwyn Ashton

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Photo by Sue Hedley

Sunday 18th June 4-11pm

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PRESENTS.. .

Cal Williams Jr Courtney Robb AP D’Antonio Lost Woods Hannah Yates Already Gone

A night of acoustic music to raise money in aid of the Leukaemia Foundation Only a $10 donation at the door Grace Emily Hotel - 232 Waymouth Street www.facebook.com/sticksstringsandmusicwings

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Kevin Borich

by David Powell Photos: Sue Hedley Kevin Borich has had a live and recorded performance career which has spanned over 40 years. His album ‘TOTEM’ is available on his website www.kevinborich1.com and JB HiFi, iTunes, and Spotify.

He was a founding member of The La De Das and The Party Boys, and the leader of Kevin Borich Express. He wrote the La De Das top 10 hit single “Gonna See My Baby Tonight”.

He was diagnosed with Nasopharyngeal Squamous Cell Carcinoma (cancer of the nose) in May 2005 and undertook radiation and chemotherapies for the cancer. The treatments resulted in the loss of his salivary glands and some hearing.

Kevin Borich and band

companies ruin Mother Earth because, I’m not bullshitting, it’s what happens! They will say its safe, that it’s natural gas but getting it out isn’t natural and it’s about fracking. There is He recently played at The GC (German Club) a DVD that is called ‘Gaslands’ where there’s as part of the Adelaide Fringe Festival. a muso and they wanted to drill on his land MEGAscene caught up with him while he was so he said well I am going to find out what in town. He talks with MEGAscene about his it’s like after say eight or nine years of drilling to see what things look like. A short grab of career, his cancer, and fracking. video of him going to a farmer’s kitchen. The David: So, Kevin how would you like to be land looks terrible, the animals look horrible, the creeks are all cracked and there is no addressed? vegetation. He puts on the water tap in the Kevin: Undressed I prefer! … (House guests kitchen and he puts a cigarette lighter to it roaring in laughter) Sorry! I live on 80 acres of and out comes flames. A flame thrower comes land and we’d go and hang the washing with out where his water is supposed to. Then it everything else hanging out, its really good! ends up right in the courtroom and there’s a Except for the occasional plane that flies over lady lawyer who says, “Can you read out in a little too often. Perhaps they want to see the fracking what are the chemicals you use. some nude people hanging out their washing, He tries to get away from doing it and she keeps pinning him. All of a sudden he goes flying over Kevin Borich’s place. through a list of all these chemicals that are in David: You have written some political songs. the fracking procedure that it goes through.

Could you describe your writing process and Even the Judges are obviously on the take provide some insights into your style and too and are all getting paid off. I went to the artistic expression? You have written some Tara Gasfields and did a protest there and played the song. political songs.

Kevin: Three songs on my current album ‘Totem’. One is about coal steamed gas mining. I think it is disgusting. It is so pathetic and disgusting that they should be letting big 8

The other one is up against the banks.

They’ve been having things go up and down and they’ve just had the big crash and a lot of the people lost their homes and they get all

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the property. It’s a big grab.

Then there is a song called Disease, about social disease.

When you have been writing songs and you see things happening and you don’t agree with it then you think that the people who are running the country should know better to preserve nature. I am a greeny but I’ve got a chainsaw. I have got 80 acres. I’ve got a tractor, I’ve got chooks. Sure I love it. I’m not a greeny, a total greeny, so greeny that I don’t do a burn off and a big fire comes through and burns everything.

parents were too busy picking apples and stuff and Mrs Donaldson said, “This sounds really good. We are going to take you into Auckland and you are going to record.” So at 12 years old I’ve got recordings with this girl singing, about 8 tunes all on a National tape. I found it in the bottom of the closet in the old radiogram and took it to the Archive Centre in Canberra and they put it on cd for me.

David: So your first hit was with the La De Das? Kevin: The La De Das got together in high school. We found a drummer, Brett Neilson and Trevor Wilson. That was the core, us three. Then later on we got Phil Key. We were David: So how did you get started in music? doing Shadow’s stuff. We got a gig at The Can you tell us a little about your influences Platterack in town. That’s when we really had and how it all began? to play from 8 till 11:30 downstairs and then had to move all the gear up these tiny stairs Kevin: Well you grow up and you’re into sport and start at 12:30 and sometimes go to 3 and you go to school and then you hear the or 4 in the morning because it was the den radio and you hear a guy going “Put your of equity of New Zealand. That’s when we sweet lips a bit closer to the phone . . . (starts started learning because we had to learn a lot singing)” And you go “Wow, that’s nice.” of songs and we picked all the songs that we Then all of a sudden there was Little Richard. I thought were cool. From there we were doing saw him in a movie at a town hall. That’s when Four Tops, the Rolling Stones, and then later I thought there is something going on here, Hendrix. there is energy here. I think that is what got the spark going. There was a lot of crooning David: I have a question for you. This is from in those days from Frank Sinatra and other one of your fans. I’ve got a lady called Trudy crooners. Apparently Johnny Ray was more of Purcell and she has a question. a singer getting a bit emotional and wound “Working with such artists as Graham Bonnet, up. Little Richard was so wound up that he Joe Walsh, Dutch Tilders, as well as South blew me away! Then there is Elvis and I loved Australia’s own Swanee, John Brewster and him. Then the guitar thing started. I learnt one Rockin’ Rob Riley, where do you get your song that had two chords; Hank Williams, a amazing energy from?” song called Honky Tonk. (starts singing Honky Kevin: Playing with people is like you connect Tonk) I thought that was fantastic. Then I as personalities and it depends on how long found out how to play a few more chords. you are in their presence as to how you get to know them. It’s like Graham Bonnet we only David: Let’s go to the La De Da’s. had a rehearsal and did a couple of shows so I Kevin: You end up going to high school and don’t know what Graham is like. He is very nice you’re starting to play. We had neighbours like most people when you first meet them it next door, two girls who had a chook farm. is cool. It’s when you start touring with the They ended up being called The Chicks and people that you forge more of a relationship they actually had a two hits in New Zealand. and find out what people are like. Playing with They lived next door and they knew that I people is like you connect as personalities could play and their mother knew and they and it depends on how long you are in their said why don’t you get together. So we got presence as to how you get to know them. It’s together and I started playing and they would like Graham Bonnet we only had a rehearsal sing. They sounded like chipmunks as they and did a couple of shows so I don’t know were so young. They had perfect harmonies. what Graham is like. He is very nice, like most So we started playing and having fun. My people when you first meet them it is cool.

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when you start touring with the people that you forge more of a relationship and find out what people are like. Just like “Honeymoon is over!” All those people that you mention I’ve had a real great thing with. There is only one musician who I really despise. You meet people fleetingly. Like Carlos (Santana) I played with him. He was a nice guy. He gave me a big hug afterwards and said “That was great, thank you very much” but you don’t see him anymore. But Joe Walsh slept on my couch at Bondi. So you have different degrees of getting to know people and are they willing to get into your life. Joe was very open and rung me after the first rehearsal. I get this phone call and it goes “Hey man, have you got a couch?” “Yes, why.” “Can I come over and stay on your couch?” I thought this guy is having me on. But no he turned up and stayed on my couch for about two or three nights. He didn’t want to stay in another hotel and he picked me out of the group to land on. So it was fantastic! I still hear from him occasionally. Then later on he came to play with not The Party Boys but my band on a cattle farm west of Tare to 500 people.

You get to know people in different degrees.

Like Swanee. I love him. We spent many a time together in The Party Boys.

David: Let’s talk about the energy.

Kevin: I’m lucky to have the passion enough to love music too which it turns me on which makes me play the way I do and I’m very thankful for that because otherwise you wouldn’t get through what you have to go through as a musician because of the trials and tribulations and the ups and downs.

Especially the way the scene is these days. It’s not like it used to be. Five nights a week we used to do. I did 366 gigs one year because we were doing doubles. We’d do War and Peace in Sydney out West till 11.30 and then we’d get in the van and drive to the Cross and start at 2 in the morning and go till 5.

And we’d do universities at lunchtime. Live music was the key entertainment at the time.

These days that’s why they had to invent that word “garage band” - so the bands had to play somewhere, in the garage. We didn’t have to do that so we were lucky. And having energy just there that comes out when I play.

It keeps you young and healthy. Even though I went through cancer. That was all from the

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passive smoke I reckon before the laws came in. My Dad was a chain smoker and I used sneak his cigarettes and go down the back by the barn to find out what was so good about cigarettes. But all I did was cough. I said “no I’m not doing that”, so I never did.

David: How do you write the songs?

Kevin: If you are lucky enough songs come on they knock on your door as little bits and they turn into songs that you work on. Sometimes they manifest pretty quick as they happen to jump out and other times you can slave away and you are not getting very far. So how do you write songs? Everyone has their own techniques. Some people start the songs first.

I have a song called on Totem called “Hang On”. It was inspired by Russell Crowe when he threw a phone at someone. It made me write a poem about me being in his shoes. He set me off and I wrote a whole poem. It is mainly the music first but that one was like that. If you read the lyrics. It’s called Hang On (The Actors Blues). So check out the lyrics and you’ll see what I’m talking about. The world is a stage and we are the actors. So there it goes, kind of encompasses and from there things can grow.

Sue: So tell me about the cancer that you have and when you found out that you had it?

Kevin: The cancer was a bit of a surprise because we had just moved out of the city to a pristine property in the mountains. Everything seemed to be wonderful but I had this lump growing out of my lymph gland. I thought it had to be something to do with my teeth. It was a visual thing as I had no obstruction and no pain. I went there, had the biopsy, and it was like “You’ve got cancer”. “What!” It was a huge shock. It was Nasopharyngeal Squamous Cell Carcinoma, the secondary was showing in the lymph. Which was great. If you’ve got it in your pancreas people don’t know because they can’t feel it. But I could see it. I couldn’t feel it it but I could see it and that was the warning for me to go and get treatment.

Sue: So you are in remission now.

Kevin: Yes. David: Any last words?

Kevin: Mow the lawn on my grave!

David: That is a quote! Kevin! It has been an absolute honour.

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Kevin Borich @ The GC 17/03/2017 Photos by Sue Hedley

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MEGA local Send your music news to: rsm@risingstar.com.au Laura Hill’s next album is now scheduled for world wide distribution around August 2017.

You can pre-order the album at: http://laurahill.bigcartel.com/product/shhhit-s-a-secret-album-pre-order-cd-fundraisersupport International award-winning singer songwriter Dino Jag officially launches his critically acclaimed “Breakthrough” EP with a series of “Stripped Back” shows that will showcase his latest songs, along with some classic covers, with captivating soulful arrangements that also feature Virgil Reality on trumpet and Nick Romano on drums along with some very special guests.

“Stripped Back” kicks off on Saturday 24th June at Norwood Live. Dinner and Show packages will be available. Tickets available from the venue and MOSHTIX. www.DinoJag.com

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On June 18 this year five acts will descend on the Grace Emily Hotel in Adelaide for Sticks, Strings and Music Wings - an all acoustic night of great music. This is a fundraiser for the Leukaemia Foundation and is presented by local band Already Gone.

Staffy Lee, the guitarist from Adelaide Band Already Gone has his own story with Lyphoma.

During his mid-twenties Staffy was struck twice with Non-Hodgkin’s Lymphoma but thanks to the support of organisations such as the Leukaemia Foundation he has survived in remission from this disease for 12 years.

Performing on the night will be: • Cal Williams Jr • Courtney Robb • A.P. D’Antonio • Lost Woods (full band acoustic) • Hannah Yates • Already Gone (full band acoustic) It is on from 4pm - 11pm and is $10 entry with all funds supporting the Leukaemia Foundation.

There will be some huge prizes from a raffle on the night thanks to some local organisations. For those who can’t make it on the night donations can still be made on the Everydayhero page: https://give.everydayhero.com/au/ sticksstringsandmusicwings For further info contact Staffy at: alreadygonetheband@gmail.com Facebook: www.facebook.com/ sticksstringsandmusicwings

Dino Jag

Already Gone

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Ian Moss will be performing in Adelaide on 12th May at Hotel Crown in Victor Harbour and on 13th May at Norwood Live. He will be appearing solo and playing songs from his Matchbook album.

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Electric Mary

Photo by Sue Hedley

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Electric Mary @ The Gov 01/04/2017 Photos by Sue Hedley

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Rick Price @ The GC 18/02/2017 Photos by Sue Hedley

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Oranges and Lennons @ The GC

17/02/2017 Photos by Sue Hedley

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Dino Jag Words and photos by Sue Hedley

“I get asked a lot “how can we support and help?”. The best way really to help any artist is to buy their record.”

I caught up with Dino Jag at Bonjourno’s in Norwood to talk about his single “You Make Me Feel So Good!” and his EP “Breakthrough”, which was produced by Grammy award winning producer Jeff Bova (Michael Jackson, Blondie, Eric Clapton, Joe Cocker, Cyndi Lauper, Meat Loaf, Iron Maiden, Billy Joel), and recorded at the iconic Sunset Sound Studios in Hollywood.

Musicians who performed on his record were legendary artists Aaron Sterling (Drums – John Mayer), Corey Britz (Bass – Bush), Tim Pierce (Guitar – Bruce Springsteen), Jeff Bova (Keyboards – Michael Jackson), Carroll Hatchet (Backing Vocals – Bette Midler) and Bernard Fowler (Backing Vocals – The Rolling Stones).

Sue: I’m here with Dino Jag and we are talking about his new single “You Make Me Feel So Good!”. What is the song about?

Dino: “You Make Me Feel So Good!” is about my imaginary friend. I actually wrote this song at a bit of a low. I was going through a bit of a rough patch. I was feeling pretty isolated, a little bit alone and so I was in my studio, picked up my guitar and started jamming. I got locked into kinda’ this rhythm. It got me fired up. And I started focussing on my imaginary female friend. That was how it started. I just found myself in this imagery of this girl with a bit of a new age kind of free spirit kind of vibe, you know, that I gravitated towards I needed to plug into something like that at the time and that became the inspiration for the song. At the time that was what I was kinda’ looking for in my life. I was kinda’ imagining what was missing in my life at the time. So that was kind of my inspiration for the song.

That’s how it kinda’ started.

at the time. This is where the imagination is a beautiful thing, it’s there whenever you need it.

Sue: You recorded this in America?

Dino: Yes, I went to LA and recorded at the legendary Sunset Sound Studios on Sunset Boulevard. That was an amazing experience.

It was the first time for me on so many levels because it was the first time I went to America to start with so to go straight from Australia to Los Angeles and just arriving in Los Angeles the whole experience from dead go was really amazing. It started with the producer I worked with and who I connected with pretty much about 2 years earlier than that, Jeff Bova, and we started calling each other having Skype sessions talking about my songs and I was going to come over about a year earlier but circumstances weren’t quite right. Eventually I felt like I had the songs ready to record and I felt really good about working with him. I didn’t want to work on the production myself I wanted someone else to take on the hat this time as producer. So I was really fortunate to be introduced to Jeff Bova.

Sue: How did you meet him?

Dino: I was getting some mentoring by someone by the name of Cari Cole over in the States. I was getting some coaching I suppose as an artist. I needed to get some inspiration outside of Australia. You know, like at that point we weren’t thinking the way we think here so I thought it would be good to plug into someone overseas who is not connected to me locally, to get a fresh perspective. Rev me up, keep me honest on my goals because my goals have always been internationally focussed. Sometimes locally it is hard to have Sue: Is it a fairly new song? that conversation with people. So I just felt Dino: It’s not that old. It’s only a few years old. like I needed to plug into someone overseas I was going through a bit of a rough patch a and start that dialogue about working on few years ago. That’s how it started. I needed being an international artist and that’s how it a release, I needed to find that thing that was started. She heard a couple of my songs and missing in my life because it wasn’t happening she said “it would be really great if you could 22

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hook up with someone like Jeff Bova”. So she planted the seed and kind of made the handshake. I then contacted Jeff Bova and let him hear one of my songs. He really liked what I was doing and he said “Look I want to hear more. I want to get to know more about you as an artist.” And that’s how we started. So from there we started having sessions online, sharing my music with him and we started to map out what my goals were in terms of recording. And the journey from there was making some decisions like “do I record here or do I come over there?“, “do I use musicians from Australia that I want to use here or do I plug into players over there?”, all that kind of stuff. And at the top of the agenda for me was I wanted to put the songs first. Whatever the songs needed to work was my approach on this one. I didn’t want to put a band together first to workshop the songs, I wanted to write the songs, feel good about the songs, make it clear about what my objectives were with the songs. I wanted them to sound authentic, I wanted them to sound like me.

Getting over there, working with Jeff, he was an absolute dream to work with because we just clicked from the word go.

Sue: Is he a muso too?

Dino: Absolutely! So for me he was like the bees knees. He was a musician first, going back to Herbie Hancock’s band as his keyboard player. Michael Jackson, Cyndi Lauper, Elton John.

Sue: So has he produced all those artists or has he played with them?

Dino: He has worked with all those artists. He produced Celine Dion’s grammy award winning album. Actually he even worked on Cold Chisel’s most recent single off their album in Australia. He did the string arrangement for that single, even Megadeth their most recent album. I think it’s the longest song on that album, about 11 minutes, some ridiculous length. He is very good at kind of string arrangements and things like that as well.

Sue: So Megadeth had string arrangements?

Dino: Yeah, for this particular song. He is a Sue: Did you demo them first?

Dino: I had all the songs completely demoed very musical guy so for me he was a great them myself and the arrangements changed guy to work with. I think that is the thing that very little from the demos that I recorded, kind of hit me straight away. The very first you know, so I had pretty much all the parts conversation I had with him I knew he had demoed, so I was very prepared before I went really listened to my song and he understood me. He was talking to me about the song as if overseas. So the process was fantastic.

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he had written it, like “I really like what you did in this section here” and he talked about some of the string stuff that I did on a particular track and all that kind of stuff. He was just a very musical guy. I felt a little in awe, to even have a conversation to start with, knowing who he had worked with, who he is kind of working with all the time.

Sue: Does he play keyboards as a musician?

Dino: Really his focus now is producing. That’s really what he does now but he cut his teeth working with a lot of artists, the big artists, as a keyboard player and working with them on their recordings.

Sue: Did he play keyboards?

Dino: Yes he played keyboards on all my tracks on the album.

They just really respected the song and they all really dug the stuff as well. That was one of the interesting things for me. Before I went over to the States no-one had heard my songs except me and maybe a few of my family members. So I was really fascinated to know how they were going to feel about the songs, how the other musicians performing on the record were going to feel about the songs. I was hoping it wasn’t just going to be one of those session gigs for them where they looking at their watch, looking at the time to see how much time was left. But they genuinely dug the tracks and I received quite a few accolades as a singer and songwriter for the stuff I put together for the album.

Sue: Did you have both female and male backing vocalists?

Dino: Yeah, and again that was another treat.

When I was told that maybe Bernard Fowler would be doing backing vocals for me I thought “Rolling Stones backing singer? Really! Okay, bring it on!” It was a bit surreal. Even Carroll Hatchet, she had just finished touring with Bette Midler and she’d also worked as a choreographer for Beyoncé. She’s kinda’ one of these triple threats; she can sing, dance and all that kind of stuff and so having her doing female backing vocals as well, the two of them together was outstanding. That was a buzz just the vocal sessions. That was a real

Dino Jag

Sue: How did you find the other players?

Dino: The band that really came together for my album through Jeff. Once we spoke about the direction of my songs and what I wanted to achieve with the sound, and we’d decided we were going to use players over there, I completely trusted him to source the players that he felt were going to be right. He exceeded my expectations with that. The size and the calibre of players that were involved and the musicians I was able to have on my record they were just all perfect for my songs.

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buzz with those guys.

Sue: Did you record just the single or the whole album in America?

Dino: The whole album was recorded in America. It’s the same lineup for all the songs on the album. The first single was “Two Young Hearts” and the one released in November was “You Make Me Feel So Good!”.

Sue: What is your album called?

The album is called “Breakthrough”. Also one of the songs on the album is called “Breakthrough”. I felt it was the right choice for me in many ways as this is a milestone album for me. Pretty much all the songs on this album are about relationship issues, victories, struggles, losses, but there was a breakthrough that came out of it all. So it represents that whole feeling of having to work through something and eventually breaking through and I feel like that is where I’m at in my life at the moment. I’ve been working as a musician all my life. I’ve always aspired to get my songs to connect with people and get my music connected internationally. It’s been a lot of hard work and I feel like I am just breaking into another level at the moment. So the title feels relevant for me on many levels.

Sue: So will there be film clip for “You Make Me Feel So Good!”?

Dino: Originally I was going to do a film clip for it but I got caught up with performing on a cruise and it threw my schedule out of whack.

So we ended up doing a lyric video for it so that there was a video out for the song. So there is a lyric video for “You Make Me Feel So Good”. The good thing about a lyric video is that people can learn the words to the song.

Sue: Who produced your first film clip “Two Young Hearts”?

Dino: The clip for “Two Young Hearts” was produced by Jason Mildwaters, a local producer here in Adelaide. A fantastic job he did. I wasn’t sure if I was going to get a good video produced here locally but it was great. He was a pleasure to work with and all the footage was done locally. The building we used for the band shots was the Queens Theatre which apparently the oldest standing theatre in Australia. A great space to be in, some kind of energy happening in that space.

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There is a lot of running scenes in the streets in and around Adelaide, some of the suburbs and some of the beaches. So we recorded some shots at Henley Beach, Brighton, Largs Bay and Semaphore. So we covered a bit of ground in that video. Maybe we should have some kind of agreement with the SA Tourism and get some sponsorship for it. I‘m very happy with the way it come up. It went very well. The week it was released, coincidentally, I received an international award for the song. I got second place in the International Songwriting Award. I forgot that I actually entered that competition 6 months before that. When I got back from LA, just as the songs were being mixed down and I just got the mastered tracks I thought I might put one of these songs in the bag for one of these international competitions. It might be a good way for some other people to listen to the song in the industry in America. I forgot all about it and about a week after it was released I got this notification congratulations and all of a sudden there is this pr stuff going on about the song. There was over 6,000 entries so it was quite an honour to be shortlisted to second place. Actually it made it through a few other categories as well. That was good timing and it helped me get some international focus on the song as well at the time.

Sue: Are you getting international airplay?

Dino: There’s currently more of a focus on Australia but it has been getting airplay definitely overseas also. In terms of marketing the song the focus is here in Australia. Here is where I am at the moment. Being able to speak to radio here.

Sue: How did the cruise go?

Dino: The cruise was an outstanding success.

It was such a great experience to be amongst a few thousand people floating around in the middle of the ocean all onboard to get into the music. John Farnham was headlining, and it had artists like Pseudo Echo and The Eurogliders. Jon English, of course, couldn’t be part of it, but the Tribute to Jon English went ahead, which featured a lot of the performers who were on the cruise. It was just an absolute joy to perform on a cruise with a few thousand people who want to absorb the music and have a great time. There was a lot of comrade amongst the artists as well. It was

a very unique opportunity. It is very rare that you get to spend nine days with your audience. At a normal gig you might get a few minutes to say hello to someone but in this situation you get to sit down and maybe have coffee together as you are sharing the same dining room. It was just great! The energy was fantastic and I met a lot of great people from all around Australia on there. That whole festival on the ocean is such a great success story, again something that has come out of South Australia. That was all started by Mick Manov here in Adelaide. He was the guy who started the company Choose Your Cruise and now it’s just become an outrageous success and they are now launching from the UK as well. I think it is great for live music, it’s another way for audiences to experience live music, it’s another way for artists to reach audiences in a really unique way. I absolutely loved it and I was very grateful to be a part of that whole experience. I made a lot of new fans, a lot of new friends and definitely looking forward to doing a lot more of that.

Sue: What are your touring plans for Dino Jag? Dino: We are launching a series of shows called Stripped back. There will be Melbourne Sydney and Adelaide and maybe Newcastle dates as well. It’s going to be performances from my EP plus a bunch of songs that inspired me along the way. I’m going to strip back to acoustic, trumpet, percussion. It’s going to be really unique arrangements to the songs.

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Sue: Anything that you would like to add?

Dino: I’m really excited to be getting the songs out. I get asked a lot “how can we support and help?”. The best way really to help any artist is to buy their record. It helps to get some traction on iTunes and then they will support it more and they will give it a bit more of a show and radio then take it more seriously if it sees that the public is supporting the track.

So really the best way to support an artist is to buy their music.

Dino will be performing in Adelaide on Saturday June 24th at Norwood Live as part of his Stripped Back tour. He will be in Melbourne on Friday 30th June at the Ding Dong Lounge with special guests Field, See & Mason (Lindsay Field, Sam See and Glyn Mason) and also with the special guest Bloom (aka Amanda Canzurlo) featuring James Morley.

Website: www.dinojag.com Dino Jag Store (Physical): http://dinojag.com/store/ Download/Stream/Buy (Digital): http://smarturl.it/BreakthroughEP “Two Young Hearts” Music Video: https://youtu.be/-MuERzl3VUU “You Make Me Feel So Good” Lyric Video: https://youtu.be/t3Iq5rDgn90

Sue: So it will be all your singles Dino: Yes, I will be playing all the singles plus Dino Jag “Stripped Back” @ Norwood Hotel Sat 24 June - Tickets from Moshtix: unique arrangements to the songs. http://www.moshtix.com.au/v2/event/dinojag-stripped-back/95144 Sue: Future plans for Dino Jag? Dino: Up until now all the energy has gone into really getting radio support and promotion and opening up for a few of the touring artists coming through. I haven’t had an official launch yet so I am looking forward to the tour coming up and being able to share the music live and some of the new material that hasn’t been recorded yet.

Sue: Any plans to travel back to America?

Dino: I’d like to, a combination of maybe doing some showcase performances over there and also to start on the next record.

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ARBA

by Brian Cain Adelaide Roots and Blues Association Music genres in most cases are defined, however whenever you enter the world dominated by one such genre, especially classical music for example, you find micro opinion, segregation likes and dislikes. These are natural phenomena, we can best define this by our like of such things as wine, some like white and some red, and in many cases for some the red or white may be most distasteful. Classical music has so many branches on a tree that has been around for hundreds of years, longer as a genre than any other music, a wider range of choice within a single genre will cause segregation within segregation, as the human spirit supports its chosen belief. The longer something exists the wider the human spirit will define it. We can view this as supreme intelligence by humans or stupidity that may lead to conflict so severe we slaughter each other in droves, this has never stopped happening and happens as you read this. So much negative news rammed down our throats like prawns that have gone off in the sun, makes you instantly sick. This sounds all very sad, but within the human spirit there is also hope and spirited effort. Classical pieces are played in a manner reflective of ancient scrolls, defined by a set of rules that require study and dedication; just about anyone can learn and become involved, it is of the establishment, cultural interpretation and experimentation is frowned upon. Many astoundingly competent players within the classical realm cannot play a note without written music sheets in front of them; I still don’t understand this. The reason being I indulge in cultural music, something given as a gift in genetic make up. This is possibly of my Celtic family tree dating back past the holy wars to within the Pagan rituals practised by Druids and banned by religious influence, and inspired by the beat of Celtic drums. I am able to discuss and write of these 28

things by the grace of democracy given by the lives of many involved in conflicts that have shaped the western world. Democracies influence has entered us all, the Westminster system of governance and its democratic demand for cross related opinion defined by fiery debate prior to a show of hands leads the way. Occasionally someone who does not like red wine has to drink it, but the alternative is tyranny and we know where that leads. Why would I speak of these things when the topic is music, blues and roots music to be more precise, democracy and its influence can even be found at this address, The Adelaide Roots and Blues Association.

The Adelaide Roots and Blues Association was founded in December 2013, it has a democratic influence, its structure includes a committee bound by a constitution, a mission statement and dedicated and passionate people involved in promoting what they believe. I often wrote of politics in my novels, and in some cases thought I did not have the inside information required to accurately portray politics at the pointy end, so I ran for federal parliament in an election, very interesting. Information is the most powerful influence within journalism, there are facts, everything else is opinion. One thing I learned whilst managing people in the mining industry is that it is easy to criticise and condemn, much harder to manage, plan and succeed. To criticise and condemn you have immediately succeeded in nothing, so I became involved, as from the outside I can only criticise and condemn; it means nothing.

The music industry no matter what genre you look within is like a giant car roaring towards a brick wall at a hundred miles and hour and everyone is arguing about where they want to sit. This is caused by commercialism, the way business is done, commercialism does not like volunteers unless they are saving money for their entity or can be manipulated outside of social fabric. Associations of volunteers are

are dangerous to commercialism, look what ‘Lock the Gate’ has done to the coal seam gas fracking industry. In essence Lock the Gate has protected water supplies beneath our feet that we often draw upon in a land of drought and dusty plains. Commercial influence sees no boundaries when it comes to profits.

The Adelaide Blues and Roots Association (ARBA) is a non profit organisation, it is staffed entirely by volunteers. So what motivates and drives these people. I interviewed Peter Allan, ARBA secretary, and asked him a range of challenging questions. Here is his every word.

Brian: When did the Adelaide Roots and Blues Association come into being?

Peter: Come into being, essentially that was 2013, here at the Governor Hindmarsh; a gathering of people on the 4th of December 2013 formed the group.

Brian: Why did you initiate involvement, was it on a personal level?

Peter: Yes, I knew the people that were involved at the helm, and I was asked by one particular person. I have always been that way inclined, always there to do whatever I can. I offered to do whatever but I wasn’t sure at that stage what I could do. I initially thought I would be a general dogs body and help out on the ground or whatever, it got to be a little more than that.

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stopped. You have to reside in South Australia, you can be a member of other organisations around Australia, we will respect that as well.

Brian: Once a member what can a person expect within the membership?

Peter: There are a number of things, essentially what we do is create family, depending on how forward you want to be, we have physical discounts for members. We go to vendors around Adelaide and encourage a reduction in costs for members, in that way we are promoting a venture, giving discounts to members, and the gigs we put on result in a reduction in costs. The other thing is a newsletter, then there’s the web site. We have a place where members can have their band or their act by links, the other thing too is any of the event awards we run the people are encouraged to be members to participate, so it becomes all above board. For example, the Memphis competition you have to be a member to compete, you have to sign up and be a member to cover costs.

Brian: What connection does ARBA have with other institutions of a similar nature?

Peter: We have a good relationship with the Ambassador in Melbourne, we have been over there a couple of times. Both Mick, the president, and I have been over there and met with the president to discuss things; we did that early on in the piece. They virtually mentored us one way or another, and Brian: What is your motivation for the venture? encouraged us. They have complimented and Peter: Okay, I wanted to further blues in criticised us, should the need be. We share Adelaide, I felt at the time that playing here links and a lot of things, we sort of looked up before tended to be a bit slow compared to them at the beginning, if it ain’t broke don’t to other places like Melbourne, that’s a lot fix it. Wherever I travel in Tasmania, there are more open. Melbourne is a lot bigger, and in blues organisations over there; we network Adelaide you need to work harder because it is and build up a friendship, Sydney likewise. so much smaller. So you gotta put a lot more We are affiliated with and are a member of effort in, you gotta forget about the barriers the Blues Federation, the international blues and you gotta network a lot. I wanted to get foundation. that happening, I wanted to open the door and allow everybody to share everything.

Brian: What was the initial goal of the organisation and have any goals been Brian: How does one become a member, can achieved? anyone join?

Peter: Well there are a number of things on Peter: Anybody can join, everybody has the our website that solicits details to our plan right to join, you just have to be interested and our goals. But what we have essentially in the blues. There is a second tier to the is to support and promote South Australian application, a process where disruptive blues locally, nationally and internationally. persons that may damage the cause can be We support anybody going overseas; we have 29

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a connection there with the blues foundation.

To promote foster and widen the appreciation of the blues, and recognition of the blues -spread the gospel so to speak. We work on that with the assistance of such things as the newsletter. There are still a lot of people out there that don’t know about the association, we are building up the data base.

One of the main things you need to do in an organisation like ours is produce a newsletter, that legitimises you in a way.

Brian: They are goals that have been achieved?

Peter: We had goals laid out, we set these goals out and we put them on the website for all to see. We are held to that and we achieved them. We got the newsletter out, the members calendar, developed a logo, merchandise and a whole range of things. We continue to have ARBA events and we are working on a weekly blues gig, that’s more open to entrepreneurs we support and encourage them to do such things. We are not a commercial organisation.

Brian: Blues and Roots covers a pretty wide range of styles but they are all within the blues genre, do you think the genre will widen as time goes on or revolve around a defined theme.

Peter: I think it’s really wide, one of the few organisations that recognises roots music.

Dennis Kapridis right from the beginning was one of the founding members and what we had in Adelaide, our style of music in Adelaide, incorporated that Memphis kind of feel bringing in a little bit of that Memphis sound in the blues. We have the absolute blues and that country that sneaks in so we wanted to include those people, and we are a small demographic here so its harder to focus solely on the blues. I’m always happy to have a fluffy sort of furry edge to the blues so it allows others in. What’s happened now that even in America they have created a sub genre or category, contemporary blues; there is a contemporary blues now and they recognise that. Contemporary blues is like roots and blues, they keep blending to each other and now we are getting roots that has come back into the blues again where I would say blues was the roots and everything else is the branches. Those branches have come back and are now feeding the roots. This mish mash of Americana, country, and all these 30

these different areas, America has all these little pockets of areas within themselves, these locations lend themselves to a wider influence and we see it down here. We create from local influences, it’s already happened here; the boundaries have widened on blues.

Brian: There is not much mention of UK or Europe, yet Mick Jagger was the first person to call Muddy Waters Sir. Peter: Well you ask me and I’m absolutely one hundred percent with you, that’s where I learnt everything from. Its pretty much the journey you have growing up in Australia. We were isolated, what we were getting was the English blues, that’s all I understood. That’s pretty well where it was coming from. These guys were picking up stuff from America and Eric Clapton, John Mayall, and Cream, they were listening to the States and we were listing to them and we took the same journey.

You end up in the same place. You look at my record collection; just about every record is British blues rock. I love it to death and have had more of that than American blues.

Brian: The music industry can be a bit like everyone’s in a giant bus roaring toward a solid cliff face at a hundred miles an hour and everyone’s arguing about where they are going to sit, do you think ARBA makes a difference when it comes to bringing clandestine groups together?

Peter: Aha, well yes and I think that that’s one of the main things and sure I understand what you are talking about there. It was like that and to some extent still is a little bit.

Everybody is looking after their own arse, improving their position. The whole idea is give everybody an opportunity to access what’s available. If we are to fight for position let’s fight up here in the upper areas of the scene, you are wasting your time at lower levels. The players in Adelaide are some of the best players in the country. There are a lot of great players in Adelaide and recognise that for sharing, becoming friends, and getting rid of protectionism, though there is not as much now as there used to be. We had lock down of particular venues; various groups would lock in venues and feature bands from their group or friends and nobody else could get in. That’s starting to go away, there are a lot more individuals and bands that are now a lot

stronger, having good relationships between bands and venues. We can get wary and frustrated. We are very friendly and polite with those problems and sort them out. It might take a while and we might do it the long way, I just don’t want any enemies. If some one has an opinion and we have one then let it out and let’s talk about it.

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Brian: So you would like to see that escalate?

Peter: I would like to see that escalate and be known and be something that’s used and not abused.

Peter Allan thanks very much for sharing your hopes, dreams and opinions with us and we wish you all the best for the future, and may the music industry be a better place for your Brian: Where would you like to see ARBA going efforts. in the future?

Peter: There is a lot of ground work that has been done. You don’t see what’s going on, in other words the fruit of our labor. The work we are doing now is constantly updating and improving, we are always moving forward.

Even when there is a change of guard we keep a group record as an organisation of what we do, collectively whoever wants to take the helm and move forward can. Some of the things we have not achieved are getting a regular blues club going, having somewhere we can all meet, a late night blues club, there are all these dreams and if you get enough people you can make it happen. So where do I hope we are heading? I just want to hold our head up with every other group in South Australia and indeed the world. If we have their respect we can welcome them in. A lot of musicians travel from Melbourne to here, we can place them and billet them, and we have always done that.

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Patrick McMahon @ Norwood Live 11/02/2017 Photos by Sue Hedley

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Brothers, Angels & Demons @ The GC 06/08/2016 17/02/2017 Photos Photosby bySue SueHedley Hedley

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Dusty Lee and the Wanderers

Words and photos by Louise Miller Blues rock band the Wanderers are not wasting any time. After successfully playing at Womad and touring the East Coast of Australia in 2016 promoting their single “In Your Fire”, The Wanderers have released yet another new single ‘Loco’ from their recently released EP ‘Something For a Distraction’.

Band Members Are Dusty Lee - Guitar/Lead Vocals, Benny Morris - Bass/Backup Vocals, Matt Birkin - Drums/Backup Vocals.

Wanderers are currently on their National tour, finishing up in their hometown, Adelaide on May 13th at Jive. With their quality guitar riffs, vintage sound and soulful harmonies, this is a gig you wouldn’t want to miss.

were already kicking around for a few years but touring in 2016 enabled us to update all the arrangements and breathe some new life into them. I also think being on the road gets new songs finished and tighter much quicker than in the studio. Songs coming to life in front of audiences night after night is one of my favourite things. I love leaving unfinished sections and seeing where the jams go on the night. We might go, ‘what ever we did in the middle section three nights ago is a winner; anyone remember what the hell we played?’ haha!

Louise: Adelaide will be privileged to be able to support the launch of Wanderers’ new EP Louise: Can you tell me a little about the at the live music venue JIVE on Saturday May inspiration for your new single?

13th. Can you tell me about other upcoming tours or events?

Dusty: We’ve been really digging cruisy ‘soul’ vibes lately and thought we’d try to keep this Dusty: We plan on releasing another single one real simple. We tried to not over think in a few months and touring that around the the song too much, which is hard for us to do country again, probably starting end of July once a song’s in the workshop phase where through August. See our current dates to the we normally try and throw in as many random end of this interview. ideas to a song as we can. We cut this one off after running it a couple of times, just kinda Louise: In 2016 you collaborated with the went ‘that’ll do’, then the very next week harmonious Adelaide sister duo, Nikai. What we recorded that same arrangement for the collaborations do you hope to experience in EP. We just wanted the ‘jam’ aspect of the the future? And why? song to be there in the final arrangement. It could’ve gone down a syncopated funk road Dusty: There’s a lot of collaborating going on but we decided to go four to the floor, the in Adelaide right now between some amazing rhythm and tempo of the song mostly being artists, visual designers, producers and the inspired by a Fat Freddy’s Drop style groove. likes. I think probably a collaboration we’ll do I’ve also been listening to Allman Brothers and in the near future will be on another video LRB a fair bit and I managed to sneak a classic clip with a creative visual designer. I admire 70s guitar harmony solo in there as a bit of that industry a lot, and its something I’m so a salute to those guys. We then threw some god awful at (coming up with visual ideas). horns in for good measure.

We’re also talking about getting a producer on board for the next record, someone we Louise: Has the journey of touring in 2016 really admire who has produced albums we helped develop your new EP ‘Something for listen to and love. Someone who can have an Distraction’? opinion on our music that isn’t attached to the songs because he/she wasn’t part of the Dusty: Yeah definitely! A couple of the songs conception. We’re not sure who yet, but 34

there’s definitely some dream studio and producers out there that hopefully wont be too far out of our reach when the time comes to make the record. I also want to work with a string section at some point, and more horns, and more harmonies - more more more! haha!

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Louise: What are you looking forward to most about touring to promote ‘Something for Distraction’?

Dusty: Playing lots of cool venues around the country that we’ve heard of but not been to yet is one thing. The banter. Listening to the new Ryan Adams album finally, in full, over and over. Meeting all the weird and wonderful people we meet. I dunno, there’s lots of things about being on the road that I look forward to.

Louise: Is there anything else you would want people out there to know about your music?

Dusty: It changes, and it will keep changing.

We’re on a musical journey and you’re welcome to come with us.

WANDERERS’ TOUR DATE FOR ADELAIDE: May 13th - Jive, Adelaide SA “Check out the new clip for latest release LOCO” by Dusty Lee https://youtu.be/coPxaiGYIBs https://web.facebook.com/pg/ WANDERERSAU/events/?ref=page_internal#

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Dusty Lee

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Photo by Louise Miller

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Diesel

Photo by Lisa Vincent

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Taste @ The GC 09//03/2017 Photos by Sue Hedley

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Melissa Jubb Full Tilt Janis

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Photos by Lisa Vincent

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Painters and Dockers

Photo by Sue Hedley

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Painters and Dockers @ The Gov 16/01/2017 Photos by Sue Hedley

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Induction of The Superjesus into SA Hall of Fame 03/03/2017 Photos by Sue Hedley

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LIVE SOUND ADVICE

By Frank Lang it’s all about scale

but complied, and must admit, it worked.

A modern trend I have been hearing about is in ear monitoring. It has its fans. But you Some bands these days set up as though should realise for smaller gigs if too many in they’re on a giant stage (if they find the band require them and throw an array of themselves playing at one or two venues in transmitter racks and mics at the engineer Adelaide that afford this luxury) and wonder without notice, well, they take up space and time and make a lot of work for the engineer. why they can’t hear each other.

Big room, big PA, small room, vocal only PA.

Plenty of watts of fold back per player sure helps, along with a fold back engineer, but these luxuries are mostly out of reach of the Adelaide band on average.

This perhaps makes a good case for finding a dedicated sound person who knows the band requirements and can work this way - an extra member?

These bands use gear designed for large stages, i.e. 800 watt bass amps, 100 plus watt Marshalls, all desirable gear but hardly usable in smaller rooms, often choked down by pedals galore till the guitar starts to sound like a giant mozzie.

A Medium room finds bands maybe using 4 wedges and drum fill. The poor old front of house mixer has to juggle these elements, and if the singer demands more and more fold back, then the guitarists turn up and away we go with the bass player next wanting to produce all his 800 watts, and what can a poor sound guy do.

Playing in large areas is an art form and years of experience can help here. As both a player So I guess I’m saying that we have a balancing and an engineer I have some hints. act here. Ask the players at fault to turn Successful bands still listen to each other and down? Take them out of the mix? try to play balanced. They have a sense of scale and modify the playing to suit. Often Don’t forget all things must be taken into realising the characteristics of the space they account. are playing in.

I’ve mixed Rockin’ Rob Riley in my time, during A small room half full, and the stage sound can his two Marshalls, two quad box era, and I quickly overtake the PA, but the same room never felt I had to ask him turn him down, he’s with 150 people in it and the stage sound a great player with a wealth of experience, and gets slightly muted by the bodies. There ain’t he’s got the valves burning and the speakers much fear of nice high stages in Adelaide now polling, and just had his rig cooking, yet the same rig in the hands of a less experienced is there? guy?

In smaller bars, bands can get away with only vocal mics and listen to each other, with the Often locals fail to understand that the gear crowd enjoying the instruments direct, and they were sold was meant for giant stages/ auditoriums. perhaps without realising it, in true stereo.

One band leader I worked for actually insisted Now I myself have been doing sound since my that I take the guitar mics away so that I had 20’s, and played for just as long, and I can be a loudish player, so I can see things from both to mix to the onstage level. I was reluctant 44

sides and still try to cooperate with the PA operator.

As for set up and backline, don’t let the back line get too far from the front line microphones

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MEGAlocal

Send your music news to: I have mixed bands, or tried to, where the back rsm@risingstar.com.au line was 5+ meters from the vocal mics in a beer garden. I played on this gig as support act and found that having the back line that far back was unbearable, and later that night mixing the main act found the guitars had no impact on the audience.

I really like to have the backline no more than three metres from the mic line and then the amps can be heard by the first 10 rows of the crowd leaving the PA to throw to the back of the room. Put another way, in a pub this means some of the stage sound actually makes it into the room.

Mon Cheri are playing on 17th June at The Bridgeway Hotel 8pm - 12am. This night is also a celebration of Jo Newman’s birthday.

Also there will be special guest appearances on the night.

Mon Cheri will also be playing at an all ages show on Friday 12th May at the Colonel Light Hotel with Do A Flip, Unheard Of and Josias Menzel. They will be playing a rocking set of their heavier tunes plus two originals that will be on their impending first album.

Here’s some good advice if you are lucky enough to support an international act on a really big stage. Ian Groome from the old Concert Sound gave me this great advice.

He was mixing Stevie Ray Vaughan in the Festival Theatre and I was in the support act “The Flyers”.

His advice: “Set up tight, near the front of the stage, like you’re in a pub.” “You’re not getting any special fold back mix because this Mon Cheri is saved for the main act, and setting up tight will help.” Well his advice holds true, set up Elvis In The 50’s show is on Friday 19th and tight. We had a great gig.

Saturday 20th May 7pm at the Hilton RSL Some bands, bless ‘em, love to dream, but on Sir Donald Bradman Drive. $25 entry, set up all wrong in Adelaide’s small venues, VIVA Adelaide Members $20 and they get and let’s face it, in reality you often don’t a complimentary drink on arrival. Rockabilly band The Memphis Suns will performing and have much choice. also Mike Tsama and Elvis Symo will do their I suggest leave just enough room for the own Elvis shows. guitarists windmills and the singers favourite groovy moves. And then enjoy the gig and For tickets call Chris on 0418 826 369. mix away Amigo.

Lily and The Drum are playing on 26th May at the Morphettvale Function Centre.

Zyke and Damo are playing on 30th May at The Lion Hotel.

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SA PARANORMAL

By Allen Tiller The Cornwall Hotel – Moonta Built in 1862, The Cornwall Hotel was originally known as ‘The Globe Hotel’ and was a popular drinking and overnight accommodation spot in the busy mining town of Moonta.

In the late 1870’s, the hotel saw an increase in patronage, which led to the hotel having extensive alterations and additions under the ownership of JK Dawson in 1881.

The hotel was almost destroyed on March 23 1889, with only the kitchen left standing after a fire broke out in the front bar. No deaths occurred due to the fire and the hotel was rebuilt by its owners, the SA Brewing Company.

Notable deaths in the hotel include a former ostler (a man paid to look after horses in the rear stables). Thomas Senior died in his bed in 1888. It is thought that after he had fed the horses he may have overstrained himself.

He returned to his room to lay down after complaining about severe chest pains, and died only a couple of hours later.

The Cornwall Hotel in Moonta

There really is no good reason why the former publican would haunt the hotel, other than that his love for the place may have brought him back. He did not die on site, in fact, he and his wife both died in their Hindmarsh home a few years apart from each other.

This may in fact, be someone naming a ghost, when truly it isn’t that person at all…

Although Mr Walkley might, or might not, be the resident spirit, there is some odd goings on in the hotel. After a recent talk to staff I discovered the smell of tobacco smoke (not paranormal in itself) is a common complaint, as are cold spots, taps turning on and off by themselves, dirty footprints appearing on clean floors (when no-one has been in the room) and doors opening and closing.

In 1928, Leslie Ferguson, the 28-year-old son of the publicans, passed away in the hotel.

Ferguson had served in World War One, and became ill upon returning to South Australia to his wife and children. He stayed with his parents in the hope that the sea air would help relieve his ailment, but unfortunately passed away in his bed from chronic illness caused One staff member had the eeriest of all during his time at war. encounters at the hotel when they walked into the kitchen to discover a man sitting on the The haunting of the hotel is often blamed counter. The man, dressed in very old styled on former publican George Walkley who took clothing was smoking a rolled-up cigarette, over as publican in 1926 after a long run as looked at the staff member, hopped up, and the publican of the Joiners Arms Hotel in walked out the door. He walked across a Hindmarsh. The Walkleys owned the hotel into freshly washed floor, and left no footprints! the 1940’s before retiring back to Hindmarsh in Adelaide.

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Allen Tiller is the Australian star of international hit television show “Haunting: Australia” and author of “The Haunts of Adelaide – History, Mystery and the Paranormal” as well as being a historian, lecturer, poet, musician, Tour Guide, blogger and podcaster. Allen is also a White Ribbon Ambassador and volunteer for many different associations and groups.

You can find Allen online at: www.twitter.com/Allen_Tiller www.facebook.com/AllenHauntingAustralia

https://www.facebook.com/ TheHauntsOfAdelaide

MEGAnews Send your music news to: rsm@risingstar.com.au Abstract Entertainment is bringing some of the great guitar players of the world together on one stage for a special event that celebrates the great stringed instrument in all its glory.

Paco Peña, The Grigoryan Brothers, Jim Pennell and Phil Manning will bring their magic across Australia. They will be performing on Saturday 2nd September at Her Majesty’s Theatre.

Guitarra is a Guitar Quartet comprising of arguably the world’s greatest guitarists within their chosen genre of music. The Quartet is led by Paco Peña described by Guitar Magazine as the World’s Greatest Flamenco Guitarist.

Paco Peña is one of the most respected guitar virtuosos and a Spanish cultural icon.

He is an accomplished guitarist, composer, dramatist, producer and artistic mentor and has transformed perceptions of the archetypal Spanish guitar and the much loved Spanish dance – the Flamenco.

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Jim Pennell showcases the guitar as an instrument of jazz.

The concert features these world class musicians playing individual sets with the finale being an incredible eclectic combo that explores their individual musical styles and gets right to the heart of Blues, Jazz, Classical and the Flamenco Guitar.

Tickets from BASS. http://www.bass.net.au/events/guitarra/ Italian superstar Zucchero will be returning to Australia for a tour in May 2017. He will be bringing his acclaimed Black Cat World Tour that has seen him perform across Europe this year. He will be performing in Adelaide on Wednesday, 24th May at Thebarton Theatre.

Zucchero (born Adelmo Fornaciari) is among the greatest interpreters of the Italian blues. He is best known in Australia for his hit single Senza Una Dona with Paul Young - released in 1991. Whilst a top 40 chart hit in Australia, the track went top 5 across the world - including the US where it peaked at #5 on the Billboard charts and #4 in the UK. In his native Italy, across Europe and Latin America he is a superstar. In his four decades as a recording artist, he sold more than 60 million albums.

His current album BLACK CAT was released in April 2016 and features the song Streets Of Surrender (‘S.O.S’) - with lyrics written

by Bono and guest appearance on guitar by Mark Knopfler. It is dedicated to the victims of the November 2015 Paris attacks. The single Turn The World Down was written by Elvis Costello. Both songs are performed in English.

Joining Paco is four time Aria award nominees Slava and Leonard Grigoryan (The Grigoryan Bros). Widely regarded as Australia’s finest guitar duo, their music crosses over a number of genres – from the classical to jazz, folk and contemporary. Former Chain guitarist Phil Manning will bring the blues to the stage while 47

MEGAscene • Issue 9 - 2017

by Carina Bonney

MARKETS

Here are some of the markets on in Adelaide.

Bowerbird Design Market

Adelaide Central Market

When: Twice a year Next markets: 5th - 7th May When: Tuesday 7am - 5.30pm, Wednesday & 24th - 26th November Thursday 9am to 5.30pm, Friday 7am - 9pm, Location: Adelaide Showgrounds Entry: $5 (Children free entry) and Saturday 9am - 3pm Time: Fri 4pm – 9pm, Sat & Sun 10am – 5pm Location: Grote Street, Adelaide Shop at the Market with First hour free parking About: Adelaide design market. Talented designer makers from SA and around Australia Tuesday - Saturday About: A huge range of fresh food, all under htto://bowerbird.net.au one roof - fruit and vegetables, meat and poultry, seafood, gourmet cheeses, bakery Fisherman’s Wharf Market products, sweets, nuts and health foods. www.adelaidecentralmarket.com.au/ When: Every Sunday from 9am - 5pm

Adelaide Market

Showground

Farmers

When: Every Sunday 9am -1pm Location: Adelaide Showground, Leader St Farmers markets are the best place to find healthy food direct from the source. You will be supporting local industry, growers and farmers as well as getting the freshest produce.

Blackwood Craft Market When: 1st Sunday of the month 10am - 4pm Location: Blackwood Memorial Hall Cormandel Parade, Blackwood Entry: Free About: handmade craft items Contact: Kerrie Gould kgould6@bigpond.com

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and Monday Public Holidays Location: Black Diamond Square, Port Adelaide www.fishermenswharfmarkets.com.au

Gawler Lions Station Market When: Every Sunday 8am - 12pm Location: Gawler Railway Station About: Arts and crafts, fresh local produce, bric-a-brac, tools and more.

Gepps Cross Treasure Market When: Sundays 7am - 1pm Sellers admitted from 5am Buyers admitted from 7am Location: Mainline Drive In @ 588 Main North Road, Gepps Cross Entry: $1.50 per buyer (under 14 years free)

Gilles Street Market When: October to May the market is open on the 1st and 3rd Sunday of the month from Location: Gilles Street Primary School 91 Gilles Street, Adelaide 10am – 4pm About: a focused Fashion & Accessories market only www.gillesstreetmarket.com.au

Labels Style Market

MEGAscene • Issue 9 - 2017

Next Market: July 9th Time: 10am - 4pm Location: Plant 4 Bowden Third Street, Bowden Entry: Free Contact: labelsbuyswapsell@outlook.com Organiser: Katelyn Gabriel http://www.labelsstylemarkets.com

Market Shed on Holland When: Sunday, 9am - 2pm every week Where: 1 Holland Street, Adelaide (behind the Gilbert St IGA) Contact: marilyn@themarketshed.com.au About: One big bustling shed is filled to the brim with local food producers selling their wares. The market focuses strongly on organically and locally produced food.

Makers and Shakers Next Market: Saturday 24th June 10am - 3pm Location: Woodville Town Hall 74 Woodville Road, Woodville Entry: $2 (Kids under 12 free) About: Homewares, furniture, food, flowers stationery and photography. Also in Melbourne and Sydney. www.themakersandshakers.com

Round She Goes Market Adelaide Held in Adelaide 3 times a year Next market: Saturday 6th May check dates on website http://roundshegoes.com.au/whenwhere/ adelaide-dates/ Location: Woodville Town Hall 74 Woodville Road, Woodville Entry: $2, 10am-3pm About: Pre-loved Designer & vintage clothing, and handmade jewellery. Also in Melbourne and Sydney. http://roundshegoes.com.au

Round She Goes Market

Semaphore Community Market When: 1st Sunday of the month Time: 10am - 2.30pm Location: St Bedes Anglican Church 200 Military Rd, Semaphore Location: Druid Ave, Stirling Entry: Free

Wild At Hart Fresh Food Market, Port Adelaide When: Open Sundays 9am - 2pm Location: The Harts Mill precinct About: A famers market with fresh food and produce http://www.wildathart.com.au

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MEGAscene • Issue 9 - 2017

MARIA’S COLUMN

by Maria Szczerba

SPINAL CORD INJURIES AND CAR ACCIDENTS

PLUS INTERVIEW WITH TELISE, SPINAL CORD INJURY ROAD TRAUMA VICTIM As I write this article I have been given a leadership role as one of Cancer Council SA Ambassadors at the S.A. Handball Championships that were held in March. I had the pleasure and given the opportunity of being given a leadership ambassador role for the weekend.

WHERE DID IT OCCUR? Telise: Maryland, NSW. I had a car accident on my way home from work, hit another car while doing the correct speed and was approaching lights doing under 20kph, while stopping.

HOW LONG WERE YOU IN HOSPITAL? Telise: No, I was not in hospital. I was at home Spinal injuries are serious injuries which can till able to be seen by a doctor. Mum had told result from the simplest task, movement me to rest till I was seen by a doctor. I was through to riding a bike to someone being sore the Sunday after, and after two days was injured during road trauma and being in a able to see a doctor. wheelchair or a walker.

WHAT WAS THE MOST DIFFICULT THING YOU Road trauma is serious and can affect people HAVE HAD TO COPE/ENDURE WITH? and the way they handle their situation. Today Telise: Very hard. I was not with anyone at the I had the pleasure of interviewing Sydney lady time of accident, I was alone. The accident Terise Skinner, 26, who I had met at the SA happened in 2009. Not being able to do what Handball Championships just recently. She I used to. The hardest thing is the coping of had suffered a spinal injury while driving her the mental side of the trauma. car. The following interview is an introduction to this lady with a follow up in depth interview It was a small accident that caused a big traumatic experience. Since 2013 surgery, to be done later as a further article. my spine discs L4 and L5 which is the lumbar Road trauma can affect people in different 4 and lumbar 5 plus discs in the nerve area ways and the road trauma section exists in were squashed. Discs were herniated. I had to many States for a reason to overcome the see a neurosurgeon after having seen doctors. affects of the road traumas suffered by so Neurologists couldn’t help me but was sent to many and their families. There is ongoing a neurosurgeon who gave help and told me support through counselling and support that I needed surgery. is also available through the road trauma (It was one year from June 2012 when sections in every State. accident occurred till one year after in March WHAT AND WHERE DID YOUR SPINAL INJURY 2013 when Telise had to wait to have approval for spinal injury, despite being in a lot of pain.)

OCCUR? Telise: I had a car accident not far away from home on my work. Besides a car accident, I DID YOU EVER THINK THAT THE POSSIBILITY fell off a children’s picnic setting in a childcare OF WALKING WAS OUT OF REACH? centre. A bolt had come out of the setting Telise: The possibility of walking without the causing me to fall off the childcare centre stick was thought of not possible. The walking setting in an awkward landing on my bottom. side of things was okay. I was then in hospital 50

for three days and I had a fall in hospital where I was having physio. I was then seen by doctors, and was told to use a walking stick stick and also recommended to have a walker because of falls. I kept going to physio and the physio insisted on a walker because of falls. I was given a walker. After surgery, I couldn’t exercise and I was not allowed to.

MEGAscene • Issue 9 - 2017

My next article will be on spinal injury and how it affects the community and how it affects Telise and what she faces for her future!

Thank you.

Maria

CAN YOU TELL ME HOW YOU ARE FEELING NOW AND WHAT HAS CHANGED FOR YOU, YOUR FAMILY AND PARTNER? Telise: I feel bad for partner, because of everything he can do, to being unselfish to others’ needs as well as my needs. I have learned to cope but have days where it can be very difficult. One had to downgrade a few things but still able to do some things.

HAS THE ACCIDENT AFFECTED YOUR DAILY LIFE? WHAT SORT OF SUPPORT DO YOU GET AFTER THE ACCIDENT? Telise: My daily life does not enable me to drive. I cannot drive, cannot work. The life I live now is a simplified version of my old life.

It scares you of what sort of future life you then are facing or have. I have had to change my life altogether.

WHAT SORT OF SUPPORT DO YOU GET AFTER THE ACCIDENT? Telise: I have very little family support, only my brother’s support and my partner’s support. I am isolated with spinal injury and very little support. I feel that there should be an injury support group arranged and created.

In closing to this introduction to road trauma of spinal injuries caused through movement or car accidents, road trauma is real and one must give it the utmost support as there is counselling and support for those involved in road traumas.

Road trauma victims need total support and without added funding and additional support these victims are limited to where they get their support from as some families don’t give these victims the support needed by them, whether it be monetary, compassionate support, or just being there for them.

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MEGAscene • Issue 9 - 2017

RSO - Orianthi & Richie Sambora 52

Photos by David Powell

MEGAscene • Issue 9 - 2017

PET PORTRAITS beautiful portraits of your beloved pet

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Have a beautiful portrait collection taken of them to treasure forever.

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For more information and bookings phone Sue on 0414 984 739 or email: sue@risingstar.com.au

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