Backstage at the Festival of Sue with (from left) BILLY POMMER JR, CLYDE BRAMLEY and ROB YOUNGER. EMMY ETIE photo.
GUADALUPE PLATA (Donostia, Basque Country) GUADALUPE PLATA are an innovative 3 piece comprising (1) vocals and guitar (2) washtub bass/guitar and (3) drums. The play an eclectic and exotic mix of rock, blues, jazz and rockabilly. I saw them perform live after my solo show in Donostia, Basque Country this year. Pedro’s guitar playing reminded me of my own, at times, demented approach to guitar playing.
KELLEY STOLZ, (Bottom of the Hill, San Francisco). KELLEY STOLZ is a singer, songwriter, musician from the USA. His music has been compared to that of BRIAN WILSON, VELVET UNDERGROUND, NICK DRAKE and LEONARD COHEN. He played an awesome show with SARAH BETHE NELSON as support. Kelley is an all- rounder – a singer, musician and song writer. The real deal.
“A FESTIVAL OF SUE: THE JDS ARE ON YOU” (The Factory Theatre, Marrickville, Sydney) Friends of SUE TELFER banded together to pay tribute to this much-loved Sydney lady with proceeds going to Support Act. A line-up that included myself (with special guest BILLY POMMER JNR on drums), X, the NEW CHRISTS, THE JOHNNYS, KIM SALMON, THE CRUEL SEA (instrumental), FRONT END LOADER, THE MIS-MADE, THE HOLY SOUL, & THE ON AND ONS. Having BILLY POMMER JNR on drums certainly gave me a run for my money. Highlights for me included the NEW CHRISTS, THE CRUEL SEA, THE JOHNNYS and X. Unfortunately, I did not get to see all the acts. Too busy chatting with my friends. It was such a great turn out from Sydney folks! After my trip into the city, seeing so many old buildings torn down (which caused me a lot of distress), it was great to see that Sydney folks still have a heart – a very big heart!
Tickets for The Festival of Sue, the tribute to late Sydney music booker Sue Telfer, are now on sale here.
X, the New Christs, The Johnnys, Kim Salmon, Front End Loader, The Mis-Made, Penny Ikinger, The Holy Soul and The On and Ons have been announced in the first wave of bands on the bill.
Proceeds from the October 20 show - featuring a dozen bands over two stages at The Factory Theatre in Marrickville, Sydney - will go to Support Act, the charity for music industry members who have fallen on hard times.
It's a dazzling line-up with more names to be added and will run from 2-10pm. It will sell-out so don;t delay.
Holy crap. First Scientists long-player since 1987.
You know, I'm old enough to remember when I first heard powerpop. And I also remember the first time I heard the Scientists' first single, which I thought was rather bloody wonderful. I was lucky enough to always hear Scientists' records before purchase and every record they put out, no exceptions, had to be in my collection.
We were often startled, because you never quite knew what the hell was going on in this band. It was like they had these... bees in their bonnets, and took delight in shoving them into people's faces, much to their alarm. Once they'd got used to the bees, of course, the band found (or invented) wasps.
The Beasts The Johnnys The Gov, Adelaide March 17, 2019 Photos by Alison Lea
It's the last night of the Adelaide Festival and the city centre is abandoned to the tourists, and no doubt some "end of festival" official shindig, doubtless adding anodyne "vibrancy" (one of Adelaide City Council's favourite buzzwords) to the joint.
Meanwhile, Adelaide's finest and most intelligent people are voting with their wallets and pile into the Gov, many having come from miles around. One bloke is here with his wife from Kangaroo Island (more expensive than a trip to Melbourne or Sydney); another bloke flew 300 miles to arrive at 4pm, with a return flight at 8am. There are many happy drunks.
Tonight was the most beautiful gig I've seen in years, if not ever. I cannot remember a more wonderful, cathartic experience.
Headliner Kim Salmon: No fish out of water. Campbell Manderson photo
Every time I go to Melbourne, something elbows me in the ribs and, somehow, things don’t go according to plan. The last few weeks have been short pay weeks, so I didn’t have quite enough dosh as I expected.
Of course, I had also completely forgotten that hotels now want a deposit against impromptu extra day stays and so forth, just in case you take the toaster into the shower or, to settle an argument, see how just far down the emergency stairs you can surf on the bed.
So, somewhat impoverished, I set off for St Kilda, a once-magical place of genteelly-crumbling art deco, dread gangsters (the real kind), assorted equally impoverished students, musicians, dealers and migrants and so on and so on. The event is the 16th A Day By The Green, a long-running Melbourne rock and roll institution.
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.
2018 kicked off with the release of Amy Rigby’s “The Old Guys” (Southern Domestic). That was probably my outright, most spun album of the year and always played from start to finish in its proper sequence. Produced by Wreckless Eric, this really should be on every year end list. I hope that one day, the world will catch on because it could sure use her music as a balm right about now.
The Dahlmanns “American Heartbeat” mini album (Beluga/Ghost Highway) features six songs whereupon Moss Rock City’s finest team up with Björne Fröberg (Nomads) and Chips Kiesbye (Sator) to deliver another chapter in timeless pop. It has a semi-baroque, almost folk quality. Line’s voice really has that Linda Thompson quality come to the fore. When I say folk of course I mean the LOUD variety, not that finger in one ear malarkey. Not that there’s anything wrong with that.
My patience with one and two-person acts is often stretched but The Courettes are the exception to that rule. This fuzztastic duo make records that actually live up to the dynamite show. It’s nice to see them receiving the praise they deserve and how things are actually growing for them. “We are The Courettes” is their latest and unreservedly recommended album.
Lucy and The Rats, who are in Australia as I tap away, were the best thing I saw at the Wurlitzer Anniversary weekend in Madrid this past September.
This double A-sided single of new recordings from the reconstituted Scientists, released in time for their recent US tour, is all kinds of wonderful. You could spend hours ruminating about what lineup of the band was/is definitive but you’ll be hard to please if the current configuration of Salmon-Thewlis-Sujdovic-Cowie (nee Chock) doesn’t please.
“Braindead” is an old song re-done and although it dates from a later period, it recalls the sound of the earlier “Blood Red River” with a steak of sustained feedback and fuzzy guitar counterpoint. Kim Salmon and Tony Thewlis sound like they’re having five kinds of fun and the relentless engine room lays down a simple but effective feel. Handclaps add a touch of groove that past productions sometimes sacrificed in pursuit of volume.
“SurvivalSkills” lands the band squarely back into the swamp as Salmon intones grimly over a cauldron of barely muted guitar. It’s more abstract and reminiscent of the 1980s band’s later explorations while in Europe, sans drum machine. “There’s always a cost,” Kim reminds us. In this instance, it’s well worth you putting down your heard-earned and making a beeline for the In The Redwebsite. There's a 12" single with another 7" in the wings, both on the same label.
Kim will be launching that one, a new split solo/Scientists single and his biography, "Nine Parts Water One Part Sand. Kim Salmon And The Formula For Grunge", at Memo Music Hall in St Kilda, Melbourne, on November 9.
I Won't Bend For You - Brian Henry Hooper (Bang! Records/Incubator)
First, it's a damn good LP, the kind you put on repeat all day when it lands in the letterbox. Second, it's so damn moving you'll find yourself tearing up in decades to come. Third, there are songs here which you'll put on at parties and have people scampering up, eyes wide, 'Who THE FUCK is this? It's brilliant!'
This has been a difficult last few years. The stupidvirus has not, of course, helped, but as far as I'm concerned it's just a gentle reminder of what awaits us all, one way or another. One dilemma which confronts some of us is - how best to remember the creative? A novelist, well; in George Macdonald Fraser's case, because he'd left the manuscript in a very prominent place, his family arranged for his very first book to be published. In a musician's case - what have they left for us?
It's quite unpleasant, and I may never listen to it again.
But if I do, it will be very loud, and I will end up in jail.
I like Gravel Samwidge. They're out of kilter with everything else around right now. The songs put the listener right in the singer's place, their intense, irritated narrative. The Gravels write songs as natural to Australia as the King Brown Snake, and just about as cuddly.
The Barman's right when he makes the comparison to Kim Salmon and the Surrealists (see "Don't You Know", with the silly/ griping sax, or "Briz 31", with the topply structure), but The Gravels have their own - possibly stranger - take on the universe and our misplacement in it. 'Long Distance Drive' captures that horrible last part of a long drive, when you're almost home, spaced out from too much driving and methadone, frantic to get there (Spinks' manic guitar sounds like a whizz-head on violin) yet forcing yourself to stay calm.
It was the sort of rock’n’roll crowd you would have expected to find in St Kilda. Weathered old punks, redoubtable rock dogs, wandering spirits from a bygone era. Lots of black, some punk rock bling, a room full of fading memories of lost nights and wasted days.
And so much love. Love for rock’n’roll, and love for the late Brian Hooper, whose new album, "What Would I Know?" was being launched, with a cast of his loyal friends and rock’n’roll family.
The obligatory "I missed the opening act" apology: It’s a long hike across town by public transport, especially when there’s a connecting bike ride in there as well. The fact that my household was engrossed in a compelling episode of "Peaky Blinders" rendered it inappropriate for me to spirit out of the place in time to see Joel Silbersher and Charlie Owen revive their Tendrils project.
Serendipitously, but sadly, the last time Tendrils appeared on stage was at Brian’s fundraising gig. Everyone I spoke to said it was, as always, memorable. Hopefully next time Tendrils play it will be free from the spectre of tragedy.
All roads lead to Sydney's Factory Theatre on Sunday for the Sue Telfer Tribute concert aka Festival of Sue. The Ons and Ons open procedings at 2pm and X will close it at 10pm. In-between you can catch the New Christs, The Johnnys, Kim Salmon, The Cruel Sea (instrumental), Front End Loader, The Mis-Made, Penny Ikinger and The Holy Soul. MCs are Terry Serio, Bill Gibson and Tony Townsend. Ten bands over two stages with proceeds going to Support Act, the fund for music industry people in need of support. It's tracking to being a sell-out but you can buy pre-sale tickets here.
These Immortal Souls The Tote, Collingwood, VIC Saturday, 12 November 2022
These Immortal Souls didn’t really have much of a physical presence in Australia, at least during the band’s creative peak. Rowland S Howard had first conceived the group in the immediate aftermath of The Birthday Party, though it took a false start with Barry Adamson, Chris Walsh and Jeff Wegener, and a brief tenure in the European incarnation of Crime and the City Solution, before
These Immortal Souls took permanent form with Howard, Genevieve McGuckin on keyboards, Howard’s brother Harryon bass and Kevin Godfrey (aka Epic Soundtracks) on drums.
For much of its time, These Immortal Souls lived a penurious, underground (literally and metaphorically) existence in the United Kingdom and Continental Europe. An Australia tour over the summer of 1988-89 would be the only time the band would grace these shores until the band’s repatriation in 1994.
By late 1998, These Immortal Souls had departed into the dustbin of history.
Leanne Cowie (nee Chock), Boris Sudjovic, Kim Salmon and Tony Thewlis. Collectively known as The Scientists.
Ever have an attack of the stupids?
No? Must be me then.
See, The Barman asked me to do this interview with Kim Salmon to mark an Australian Scientists tour with the classic "experimental" line-up. A phoner. I wrote back saying, I couldn't, I'd be in Melbourne.
Brian Henry Hooper being attended to by his angels, his nurses. Carbie Warbie photo.
Four weeks ago Brian Hooper lay in intensive care, surrounded by family and his closest friends. The tumour doctors had found on Hooper’s lung just before Christmas was preventing Hooper from breathing without medical and mechanical assistance. Specialists suggested the even Hooper’s short-term survival was in the realm of miracles.
It wasn’t the first time Brian Henry Hooper had been told to fear the worst. Just over 14 years ago Hooper was told by specialists he may never walk again, after the balcony he was standing on at a gathering in Victoria’s Mornington Peninsula collapsed, sending Hooper crashing to the ground, his back mangled from the fall.
Over the next 12 months, Hooper pulled himself back from the edge of permanent paralysis. Hooper’s resilience and psychological strength astounded all around him. In late 2004 Hooper limped back on stage with the Beasts of Bourbon for a gig at the Greyhound Hotel. Towards the end of the set, his battered spine unable to withstand the trauma of standing any longer, Hooper lay on the ground. His bandmates, save for Tony Pola on drums, followed suit, three battle-hardened rockers lying prostrate on the stage in sympathy for their comrade-in-arms.
It was the moment I knew the relationship was in trouble. It was April, 1993 at Le Rox in Adelaide. Ed Kuepper was headlining, but it was support act Kim Salmon - in solo mode - who was holding our attention.
Just as Salmon strummed the opening chords to “Words From a Woman To Her Man’”– still, when push comes to shove, one of my two favourite Salmon tunes (the other being its companion piece, “Something to Lean On”), a punter in front of us turned and rebuked my girlfriend for disturbing the aural ambience with her loud commentary.
I knew the relationship was in trouble because I wanted to side with the anonymous interlocutor from the crowd.
This was the weekend that Hugo Race and Kim Salmon played separate shows in Adelaide on successive nights. At first glance, there might seem little to compare the two. But there’s plenty.
Both guitarists, both swimming against the stream writing songs which are, essentially, written as much for the ages as us. Both Hugo and Kim are touring professionals who love playing live, giving to a crowd.
Arguably, both also make the kind of music which seems to endlessly slip between the cracks in a modern world so devoted to novelty (rather than a trend) and the appearance of substance or significance, as opposed to any depth or meaning.
For many years now I’ve been damn glad I don’t live in Melbourne. There’s more quality musicians there per square metre than almost anywhere you can name. The worst of it is, see, I don’t like to go see a brilliant band just the once. No, that’s not how you’re called to music.
Here in Adelaide, I would relentlessly follow - and record - my favourite local bands. The Lizard Train, Bloodloss, I couldn’t get enough of. There were others I liked, but not like this. If I lived in Melbourne, I’d have to have myself cloned.
Kim Salmon, expat Perthian (we think they’ve stopped worshipping Baal, we know they no longer eat their young at Easter but the inbreeding remains a problem) and one of a handful of musicians with the strongest and most extraordinary creative imperative in the country, plays here tonight with a pickup band (the only way the gig would work).