On the 40th anniversary of the release of The Saints classic album "(Im) Stranded", founding member, guitarist and songwriter Ed Kuepper will revisit the material performed by that seminal Australian band.
Originally spawned in the early '90s, The Aints sought to bring justice to the sound and attitude of the original Brisbane-based band, capturing their energy and iconic onstage presence.
The Aints Play The Saints (73-78) national tour in November led by Ed Kuepper and an all-star band is selling out all over so new shows have been announced.
The gig at Melbourne's Caravan Music Club has joined Sydney's The Factory Theatre as a pre-tour sell-out. Limited tickets remain for the other Melbourne show (November 18 at the Corner Hotel) and all other shows in Perth, Brisbane and the Gold Coast.
Due to demand, Sunday, November 26 has been set aside for a performance at Aussie World on the Sunshine Coast and tickets are on sale via aussieworld.com
2017 was a great year to celebrate the 50th anniversary of The Velvet Underground & Nico and "Forever Changes", the 40th of "(I’m) Stranded" and the 25th of something great (and local) which came out in 1992 that was more than likely one of Ed Kuepper’s. And speaking of Mr Kuepper, let’s launch into this Top Ten the Barman asked me to do.
I’ll just prattle on about live shows I’ve seen as they’re probably more entertaining than my thoughts on Cosey Fanni Tutti’s autobiography "Art Sex Music" which isn’t rock & roll enough or director Kriv Stenders’s recent feature documentary on the Go-Betweens which is probably too wimpy for readers in I-94 Land.
Fair enough - they’re not everyone’s cup of tea – especially if you prefer coffee.
1.-7. THE AINTS 2017 AUSTRALIAN TOUR OF THE EAST COAST
Apparently the best way to describe someone who follows Ed Kuepper’s shows from town to town is to call them an Edhead. In 1976, Saints fans were known as Kuepper Troopers as it was understood that even in those early days it was Ed’s band - up until 1978, at least.
So fast-forward to 2017, The Aints awake after a 25-year hiatus and decide to tour through the most of the country’s capital cities doing Saints material from ’73-’78.
2017...the year that was...and yes I have Sinatra's ''It Was a Very Good Year'' going through my head. Actually, it had its ups and downs but I'll focus only on the ultra good, in no particular chronology.
My musical year started with a performance with the Queensland Symphony Orchestra as my backing band at The Tivoli. in Brisbane. We played my most recent album “Lost Cities” in its entirety, as well as a selection of material I did for the “Last Cab to Darwin” soundtrack, plus earlier solo and Laughing Clowns tunes. “Ghost Gum” and “Collapse Board” were real high points for me.
Richard Davis conducted and made the transition from the garage to the concert hall for me not only possible but an enjoyable experience. Robert Davidson did the orchestral arrangements and brought the songs to life in a context I'd often dreamed about doing but hadn't actually heard.
Richard Wenn put the whole thing together. It would not have happened without him. His enthusiasm for bypassing the “greatest hits” approach and general tenacity made it work. Thank you, Richard.
We did the show again in Cairns a little while later, this time with a slightly trimmed-back orchestra (even flat-stacking them, there are only so many orchestral musicians that fit into the back of my ute.)
This was also great and quite different due to the smaller orchestra. The whole thing has been a great learning curve for me. Thanks, one and all.
The next thing I went on to do was what was announced as my last ‘’Solo and By Request'' tour, this time taking in all those out of the way and rural places I don't get to that often. The idea for these shows started in 2013.
This year was returning to my childhood and gromit years - teenage times as well as inner-city music, alternative and garage rock, beer-soaked pubs and the alternative. Namely the Beatles, Midnight Oil and Patti Smith.
Patti Smith and Paul McCartney get the guernsey for the best gigs of the year. And for the same reasons. Both artists are incredible live and these final tours were a massive thank you to the fans…
1 Macca at Suncorp Brisbane
Sir Paul delivered on all fronts. With the most thoughtful visual show and a hit every minute over those three hours and ten minutes, it ranged from pure, four-on-the-floor garage rock with guitars sonically attacking to more mellow stuff.
From “I Want To Be Your Lover” which would have made the Stones sound like a get-together at a nursing home to “Helter Skelter”, to the bombastic, “Live And Let Die” which inflamed the stadium, the cheesy “Mull of Kintyre” with a 25-piece pipe band, to the solo acoustic moments with “Blackbird”, this was gold. Macca’s voice, his insights, wit and humility, and his guitar playing were magnificent; 42 songs played. I won’t forget it a hurry.
1 Patti Smith at the State Theatre and spoken word at Sydney Opera House
Another pair of gigs where Patti gave 300 percent. Patti engaged us with insights, stories and, as with Macca, showed a great deal of humility. The band, led by Lenny Kaye, at times still had the intensity of 1975 CBGBs Patti, yet with overtones of a grandmother and an earth mother.
James McCann leading The New Vindictives in Europe. JUXE photo.
1) The Damned @ 170 Russell St, Melbourne
I’ve always loved The Damned: the rush of energy of their first few singles and albums. My wife is a big fan and she educated me on all things Damned. I missed them last time around so I was pumped to see them finally, to say the least.
I didn’t want to be disappointed so I did my homework and watched recent live shows on YouTube and read recent reviews. By all accounts the band was on fire , so I was ready for it and they didn’t disappoint.
They are still Punk Rock weirdos at heart and it was side splitting when Captain Sensible talked about Kurt Vile playing before them at Golden Plains: “It used to be Phil Collins and Paul Weller , but I’ve found a new one KURT Fucking Vile , what a fucking tosser “ It's true so much contemporary underground music is middle of the road , like Bread in the 70’s or LRB , this shit is still the enemy, even though I’m sure Kurt Vile is a lovely guy.
In no special order:
1. The Damned at The Triffid, Brisbane, March 15
A school night: Wednesday. The Mesmerisers go on at 7.30pm to a packed house. We carve, the crowd makes us feel like they are there to see us. The Damned 's tour manager remarks that he has never encountered a support band being granted a bottle of Gordon's gin as part of their drink rider: another milestone ticked.
The Damned play for two-and-a-half hours - brilliantly. They are a big hit with the audience - and with Captain Sensible back in the band, they could hardly miss.
2. Perfect Match
Now I do know where she comes from: Banyo. I’ve got a Date with a Banyo girl, tonight.
3. Died Pretty, Radio Birdman and The Mesmerisers at The Tivoli Theatre, Brisbane, June 23
The crowd have all turned up early and turn on to us straight away. Died Pretty get better every time I see them. They always were a fantastic band.
4. Perfect Purchase
My Zoom H5 portable recording device does everything i wanted it to.
5. Gap Farmers Markets, Brisbane, June 25
Andrew Ross and Co sure know how to put on a festival . We go on before dusk. I wear my sunglasses for half the set. Michael again chooses the right shirt for the occasion.
In no particular order...here's the best of 2016:
"Brujita" - Chris Masuak and The Viveiro Wave Riders
Best rock pop record of 2016 by a long way. Did I mention it’s on I-94 Bar Records and you can buy a copy here?
"Friday Night Heroes" - Leadfinger
The soulful Sydney-via-Wollongong rock and roll band par excellence just keeps getting better.
"Evolution" - Tamam Shud
Damn, if this doesn’t rock I don’t know what does. Veterans from the beginning of time (well, birth of Australian surf-psychedelia) sound dirty and relevant at the same time. They deliver the goods live, too.
"Post Pop Depression" - Iggy Pop
His best album since “New Values”. Big grooves and melodies with a sharp, Germanic essence, it’s proof that Iggy needs another talent to bounce off to deliver his best work.
“Diamond In The Forehead" - Garry Gray and The Sixth Circle
The album was killer and the short run of Sydney shows was just as good. Were you you? One day you might claim to have been. Nice people, to boot.
"Lost Cities" - Ed Kuepper
Ed’s been an underrated treasure since finding his solo feet in the late ‘80s. This adds to the considerable body of work. An album of great songs with understated intensity.
Kylie Pitcher photo
Bob Dylan once said: “I should have never been successful: I was a fluke” In other words: Music that I write and perform, historically speaking, has never had mass appeal, he explained.
I have to agree with that; art that is intelligent, at times challenging and thoughtful does not generally have mass appeal (with a few exceptions.) KISS, One Direction and The Eagles have all sold mega tonnes of albums. delivered in massive crates (along with packs of Cornflakes) to mega stores, and still play sold-out arenas.
Meanwhile, artists like Ed Kuepper are down the road performing in small clubs, releasing music on their own labels and playing in intimate settings to refined music geeks and fans who like to think about their music.
It was tiny clubs where you could go to see Coltrane, Mingus or, on another level, Dave Van Ronk. It is perfect that we can see Ed in these venues.
The Camelot Lounge is quite a special place. It is a decent live venue in Sydney. So much care and thought has placed into this venue, which also includes the downstairs Django Bar.
It’s like a well-manicured museum - right down to the camel obsession and the food announcements that mimic RSL clubland bingo calls.
“No 67 your pizza ready and that rhymes with heaven” is quaint, and annoying at the same time: that said the booze is a good price. Places like this are truly a godsend.
Legendary trailblazing guitarist Ed Kuepper has extended his run of "solo and by request" shows by to some of Australia's lesser-visited musical corners.
The tour, in support of Ed's "Return Of The Mail-Order Bridegroom" album of acoustic reinterpretations of songs from his career, takes in hometown Brisbane, as well as Adelaide and the Gold Coast, but also detours to Darwin in the NT, Cairns in Far North Queensland and Margaret River in WA.
Reviews of the shows so far have been gloowing. Expect the usual Saints and Laughing Clowns classics (provided the crowd ask for them) but also a wide range of surprises.
The King of Reinvention, Ed Kuepper, is at it again. The ex-Saints and sometime Laughing Clowns guitarist recorded his first truly solo album in the mid-‘90s – just himself myself and a couple of acoustic guitars.
Ed Kuepper returns with part 2 of his "Lost Cities" album Australian tour, performing solo and in duo mode across select dates in Darwin, Newcastle, Sydney, Katoomba and Melbourne.
The duo shows see Kuepper reunite with his old sparring partner Mark Dawson – a collaborator most notably on the celebrated “Today Wonder” and ARIA winning “Honey Steels Gold” albums – between them featuring two of Ed’s most recognisable tracks in “Everything I’ve Got” and “The Way I Made You Feel”. Mark will join Ed for shows in Sydney, Melbourne and Belgrave.
Ed Kuepper. Photo by Richard Sharman of Blackshadow Photography.
Posted October 29, 2008: If the thought of re-convening the classic mid-'70s Saints line-up presents more problems than formulating a lasting Middle Eastern peace plan, the organisers of the All Tomorrow's Parties festival series must be among international diplomacy's canniest operators.
The improbable becomes reality in January 2009 when ATP establishes an Australian beachhead, with Nick Cave and the Bad Seeds curating and the Saints a feature act.
Yes, you read right. The Saints. Not any old Saints or even The Aints. The Kuepper-Bailey Saints, fercrissake, will be part of a varied and eclectic line-up over three locations and four days.
Ex-Saints and Laughing Clowns trailblazer Ed Kuepper's 50th (!) album “Lost Cities” is on its way and available for pre-order.
“Lost Cities'' will be released on December 20 on CD only and we reckon it would be the ideal Xmas gift. You can place your order with Ed's own Prince Melon Records webmaster James Last here.
Copies purchased before the official release date will be personally signed by Ed and cover artist Judi Dransfield Kuepper.
The album features nine new songs recorded in August following the successful Nostalgia for the New Australian mini-tour by Ed. Titles are ''Pavane'', ''Friends with the Leader'', "Free passage to Mars'' ''[It's] Never too Late'', ''The Ruins'', ''Fever Dream'', ''What can I leave you'', ''Some said....'' ''Queen of the Vale [that's V.A.L.E]''.
Four decades after the release of his first record, the iconic Australian classic ''(I'm) Stranded'' by The Saints, Ed Kuepper returns with an album that may well be considered a high point in his lengthy and uncompromising career.
Recorded over three days in August at Gasworks Studio, Brisbane ''Lost Cities'' is Kuepper's 50th release (excluding compilations) and is on his own Prince Melon Records label. It is Ed’s first entirely solo and electric release, a format Herr Kuepper likes to refer to as Solo Orchestral.
To those who witnessed Ed Kuepper’s live shows last year in which he first aired this new crop of songs, we were set afloat in a dimly-set world and intimate setting.
Ed was sitting on his throne; his approach was self-absorbed, ambient and ethereal, yet focused. With the odd Scotch on the rocks being downed, Kuepper was in fine form.
The Aints in full flight: Peter Oxley, Paul Larsen and Ed Kuepper, with Alastair Spence obscrured. Mandy Tzaras photo.
You knew something special was up in Adelaide tonight because as you approached The Gov, heading determinedly back to the carpark was a small group of lone pushing-toward-pensioner men, each clutching the same record: “The Aints Live at The Sarah Sands 1991”. There can’t be too many left of this, they only made 300; get yours at the gig; two LPs, $50.
Ever hear of Reid Fleming, World’s Toughest Milkman? Good. Now you have.
The first comic came out, it must’ve been 30 years ago. I had a T-shirt, gave it to Bob, who has cherished that damn thing for about 25 years now. I did my heart good to see Bob bouncing around tonight in that tattered t-shirt. “I thought I told you to SHUT UP!” Fleming bellows from the shirt. It perfectly matches the night.
By the time you read this, Ed Kuepper and his new favourite band The Aints will be ensconced in Phil Punch’s Sydney studio, recording their new album.
“The Church of Simultaneous Existence” was previewed on the recent runs of Aints shows across Australia, and will consist mostly of old songs intended for a fourth album by the early (definitive) version of the Kuepper-Bailey Saints.
The Aints lineup is Peter Oxley (bass), Paul Larsen (drums) and Alister Spence (keys) with Kuepper on vocals and guitar, backed by a three-piece horn section. The photo at right of Peter Oxley in the studio yesteday is courtesy of Feelpresents.
Last Friday night at Sydney's Marrickville Bowling Club, The Aints played a bracket of the album songs in their entirety. They backed up that blistering show with an appearance the following night at the Gumball festival in the Hunter Valley..
Did we say recording “a new album” (singular)? The Aints are also recording a new Ed Kuepper album - with strings.
It’s the same “electric trio” configuration that appeared with Ed and the Nonsemble Strings at Leftys Old Time Musical Hall in Brisbane in December 2017.
No release dates have been announced for either album but mixing sessions have been scheduled, so watch this space.
“Second Winter” feels almost like a concept album. Those are familiar with Kuepper’s work since his solo debut of “Electrical Storm” of 1985 will find it all like a passage between the past and the shadows of previous melodies and phrases. It's rather haunting.
Even the cover of the record has captured the ambience of the front of his first solo album (also made with long term collaborator, drummer Mark Dawson.) This shot shows four identified figures leaving an entrance of a stone building.