Dave Weyer circa 1969: Sought after Hollywood sound architect.
DATELINE 1999 - If you're a regular here at the I-94 Bar, chances are good that you have a more than passing interest in the music of Deniz Tek. Granted, the Radio Birdman mastermind's music has taken a markedly experimental turn over his last couple of albums -- one which hasn't found universal favor among fans of Birdman and his earlier solo work. But give the Iceman his due for hewing true to his uncompromising vision and never failing to make challenging, stimulating music.
Since the "Italian Tour" and "Bad Road" EPs and the "Le Bonne Route" album, a key element in the Deniz Tek sound has been one David Weyer, owner/operator of the studio in Laurel, Montana, which bears his name. As engineer and co-producer, Dave is the man who's helped realize Dr. Rock's prescriptions on tape and disc, and he has a fascinating story of his own to tell...
He's been a musician, inventor, a resident of L.A.'s Laurel Canyon during the frenetic '60s, amp technician to a host of guitar greats including Neil Young and Jimi Hendrix. Over a virtual beer or two, we talked about Dave's facinating past and his work with Deniz on projects past, present, and future.
Dave Weyer bellied up at the bar with me from his home in Laurel, Montana, on Sunday afternoon, October 3, 1999.
Jeff Sullivan and Julie Mostyn. Steve Teece photo
The dictionary defines serendipity as “a pleasant surprise” and it's a term that scientists working in medical research are fond of using. It’s also at the heart of how the looming reformation of beloved Sydney band the Flaming Hands came about.
Singer Julie Mostyn is on the phone from the Coffs Harbour home she shares with husband Warwick Gilbert, onetime bassist and graphic artist for Radio Birdman. She clearly remembers serendipity’s intervention on that very same landline, late in 2016.
“It was one of those life-changing phone calls…one that shocks you out of something you’ve been trying to get out of for a while,” she recalls.
“It was a call from Peter Oxley of the Sunnyboys, and he said: ‘Would you consider reforming the Flaming Hands?’ And I thought for half a second and said: ‘Yeah, that’d be good’.”
Talk about timing. It was as good as any excuse for Julie to ditch her day job in a local bank and embark on what's not so much a career revival as a chance to revisit great times, renew old partnerships and - maybe - push the musical boat out just a little further.
More on that last point later. More immediately, it means Flaming Hands supporting the Sunnyboys at the Sydney show of their February Australian tour, with similarly reformed friends, Shy Impostors, opening the gig.
Flaming Hands were Sydney’s best soul and psych pop band, a potent and popular outfit based around Julie Mostyn’s passionate voice and guitarist Jeff Sullivan’s emotion-baring songs.
Leadfinger in full flight at Bulli's Heritage Hotel with Carrie Phillis assiting on backing vocals.
They've been around for a decade but I've gotten into Leadfinger a bit late in the piece. I had heard word that they were one of the best bands in Sydney, and I knew their leader, Stewart Cunningham, from previous outfits like Proton Energy Pills and Asteroid B612, with whom I’d shared stages. So we went all the way back to 1989.
The penny finally dropped at the Tim Hemensley Memorial at the Tote in Melbourne about three years ago. Bombarded by the hard Geelong-Melbourne garage rock sound, it was Leadfinger (along with HITS) who were the highlights for me.
Leadfinger played upstairs. I watched a band that was thoughtful, with a great collection of songs and a broad variety of influences. The guitars chimed and lashed out, there were great vocal hooks, and the tunes were memorable. I decided that I liked them a lot.