Articles

Reggae Article

by Bec Bradstock

The word Reggae was first used in the 60’s in Jamaica to identify a ‘ragged’ style of dance music that grew out of several different other musical styles including Jamaican (Afro-Caribbean) music and New Orleans rhythm ‘n’ blues. Reggae is characterized by a heavy back beat on the 2 and 4 and the drummer will often emphasise the 3^rd beat with the kick drum.

Rastafarianism is a religion that is very common among Jamaicans of African descent. Many of the world’s most famous reggae musicians practice this religion therefore reflecting the beliefs and traditions through their lyrics. In Rastafarian practices, marijuana (ganja) is used as a sacrament; their belief is that it pulls a person closer to (Jah) God.

Since the beginnings of Reggae music, several different styles have emerged. These include; dub (which is dropping out the vocals & emphasizing the instrumental texture of the song), talk-over (traditional form of rapping), Ska, Dancehall (reggae music with rock drums), Ragga (a fusion of reggae, rap and electronic music), Rock steady and Roots reggae.

Reggae & Ska music became very popular during the punk age in Britain. Bands such as Aswad, Steel Pulse, UB40, Specials and Madness offered a westernized version of Jamaican music. Madness and the Specials played a new style called 2-tone which was a fusion of punk and ska. These days reggae style music is still very popular in the form of Sublime, Kora, Gentlemen and many others.

The music that didn’t fit the album
Reggae doesn’t seem to fit into the typical music industry. Whether it’s ska, rock steady, JA boogie, dub or any of the other many forms, Jamaican music has always stood outside western music’s marketing rules. Even after the success of Bob Marley, when outside interests had rebuilt reggae to uphold the same values of western pop music, dancehall reggae still didn’t measure up; neither did raga or new roots. For nearly 50 years, with a few exceptions, the reggae album never really seemed to take off.

This has nothing to do with the public either. Jamaican music has had an enormous impact and sale figures have reached very high sums. Reggae exists in its own world because the motivation behind the business of the widespread style, since around 45 years ago, remains unique to the island. Although the style has been adapted and used throughout the world, this unique style of music could only have been created when and where it did. An island environment. The start of it all began with a sound system. Fifty years ago, huge hand made sound systems were blasted across open air dances which were called “lawns”. These events originated in the ghettos where there was minimal electricity and not many people owned radios or record players. “Lawns” were one of the few ways in which people could hear the latest American R&B music. The sound systems soon became crucial to the community. To keep on top of things they needed a continuous supply of new records that nobody else owned. Records were imported from the U.S. and heavily guarded, often scratching off the labels and putting new names on it. Eventually, these records became harder to source so Jamaica’s indigenous musical talent started making their own records towards the end of the 50’s.

The locals recorded imitations of R&B (which later became known as JA boogie). The record producers were in charge of renting the studios, organizing and paying the musicians, picking the material and ultimately owning the recordings. Leslie Kong, who recorded Desmond Dekker, The Wailers and Jimmy Cliff only got into production because he needed records to sell in his shop. Arrangements were left up to the bandleader and as most of the studios of that era were make your own record booths, there wasn’t a lot of engineering skill involved.

As the whole point of these recordings was to make music that nobody else had, the finished product was usually a one off. The producer would then go play it on his sound system. If it moved the crowd it was kept, if they didn’t respond it was usually destroyed. Since then, the crowds listening to the sound systems have been the most important consideration in the country’s music business and the operators have called the shots. This is also the reason for why so little Jamaican music has been recorded with albums in mind and why the producer in most cases, is more important than the artist. These days the producer still creates or obtains backing tracks and then selects the appropriate MC to sing over the top. Artists were paid small amounts of money and copyright laws were not introduced in Jamaica up until the 90’s. Until the person who recorded the song had all rights to it.

Very Unique Existence Article

by Bec Bradstock

Their latest EP is titled Everyone and features seven songs.  “The whole idea was that the songs are all different from each other and there is a song on there for everyone”, says Mick.

“On the whole things have been very, very positive and the band is progressing very, very quickly.  It’s basically anything we get in regards to feedback we take on board.  It’s always good to get a review that isn’t quite what you hoped because it gives you some idea of what you can work towards on the next recording or next performance.” 

“[Hearing our song on the radio] put chills up my back, easiest way to explain it, total self elation that I was finally hearing it”, says Chris.  “It was one of my life goals to have that done.  I still get a rush every time I hear it on the radio, especially when the new tracks get uploaded.

“I know we’ve had quite a few people that have come back to us after listening to our music and say that it has actually helped them through certain parts of their lives.  When we receive feedback like that it just cements it more and more that we are on the right path doing positive consciousness rock.  The type of music we play is something that hasn’t been brought out to the world as far as we can tell.”

The Very Unique Existence has also set up a ‘Social Music Project’, a way to keep fans in touch with the band.  Chris explains, “We set a website where our fans can email back to us and give us ideas of songs, whether it’s through personal experience, lyrics or music that they have written.  We’ll look at that and if we believe it’s viable we’ll email back and ask if we can make use of the lyrics etc.  Basically we integrate the fans into [our music].”

In order to give back to the community the band donate a percentage of each ticket sale to a local charity.   “Every time people hear Very Unique Existence we want them to immediately think to themselves it’s a feel good night, these guys are trying to do something for people and raise awareness, and more than that, part of what I pay goes to a charity.”

“In terms of what we are going to become, in terms of the amount of people that will know about us, that will be a time will tell sort of thing.  If someone gave us $200,000 right now, with the songs we’ve got, we could be as big as Powderfinger.  I want people who come out and see us play to know that they are going out to get a serious injection of positive energy… and it’s starting to happen.” 

“We’re talking about going in and doing a full album soon, hopefully that will happen towards the end of this year”, says Mick. 

You can hear The Very Unique Existence and purchase their EP on their MySpace.  https://www.myspace.com/thevuerock
The Social Music Project can also be accessed through that page.

Shredder Of The Week Article

By Bec Bradstock

What are your influences?
Paco De Lucia, B.B. King, Elmore James, Jimi Hendrix, Stevie Ray Vaughn and Wes Montgomery.

How many bands are you in?
Big band, Marlinane band, Mamaroux, Simple Folk and Cresent Bloom.

How much do you practice?
Three hours a day.

What is your ideal guitar?
A 1960’s Gibson ES 335

What are your plans for the future?
Go to America and play with the best musicians in the world!

Describe yourself in 5 words.
Red, dangerous, musical, quiet and blues.

What was your best gig?
At the Sydney Opera House – Encore 2006

What did you play?
Tequila Slammer by Tommy Emmanuel

If you could go back to any musical moment in history, what would it be?
Go back to Chicago in the 60’s and see all the blues artists.

Punk Article

Aaron Green

“A guy walks up to me and asks ‘What’s Punk?’. So I kick over a garbage can and say ‘That’s Punk!’. So he kicks over a garbage can and says ‘That’s Punk?’, and I say ‘No, that’s trendy!’”

Background & History:

THE TERM ‘PUNK’
‘Punk’ was originally used for centuries to describe an adolescent male hustler, a thug, a ruffian, a hooligan or a gangster. Ultimately stemming down to mean the lowest form of a human being, a piece of scum in society’s eyes. Thus the term was coined for an offset genre of ‘Rock n Roll’ that was abrasive, anarchical and viewed as a detriment to society... Glory Be! Punk was born!

FIRST WAVE PUNK
Punk was born into a world around the mid 70’s where Rock n Roll glorified complex instrumentation and awfully long solos that was at the same time appreciated, but in many people’s eyes steered away from the fundamentals and true purpose of ‘Rock’. Punk Rock entailed freedom! It was simple, loud and aggressive music that often comprised of extremely short songs based around three simple chords and a bass or guitar riff. It rejected all predecessors’ ideologies, from right wing political romanticism to flower-power idiocy that was found in the music of the day. Punk vocals were simple in pitch and volume, relying on repetition with lack of variety but connected with an aggressive shouted vocal style. The music itself relied on repetitive bass lines, distorted guitar power chords with a production quality that was left raw and real. Lyrics were always blunt and rebellious concerning social and political views and indifferent and dethatched portrayals of relationships, heartache and sex.

SECOND WAVE PUNK
The next wave of Punk progressed around the late 70’s, early 80’s where Punk music fractured into a wealth of energetic sub-genres. Most new genres kept the initial ideals of Punk music but progressed in certain aspects, be it the tempo, the instrumentation or the performance quality. Some newly formed genres were ‘New Wave’ and ‘Post Punk’ which were more pop-orientated and accessible, less aggressive and political but with more complex songs than traditional punk. On the other side of the newly-born scale were ‘Hardcore Punk’, ‘Oi!’ and ‘Anarcho Punk’ which were less commercial and accessible due to it’s higher capacity of instrumentation and harmony, it’s experimentation and sense of adventure. Hardcore Punk was to the extreme with loud shouted vocals, exceptionally fast tempos and energy. Oi! and Anarcho Punk were seen as experimental but more primitive in a sense, made for the working class types and had a strong influence on the Anarchist movement of the time. In the middle of these extremes was ‘Pop Punk’, a gently mix of both sides of the spectrum compiling more melodic phrases and harmonies but with Punk’s energy and chaotic tendencies. Other offspring genres of this time included ‘Ontario Punk, ‘Horror Punk’, ‘Protopunk’, ‘Streetpunk’, ‘2 Tone’ and ‘Psych Punk’.

TODAY
Since the 90’s Punk music has surged into mainstream areas and also kept hidden in underground dedicated sects. Punk has splintered into genres with their own subgroups of today, these genres include: ‘Queercore’, with bands containing gay and lesbian members, with songs expressing themes of oppression, sexual and gender identity, prejudice and individual rights. ‘Riot Grrrl’, with mostly female members who wrote feminist and politically charged music enforcing female empowerment and exploiting feminist sexuality. ‘Ska-Punk’ was born in the 80’s but still has a massive underground following with always highly dedicated members. Ska music has a more developed style of vocals and sound with typically containing a small brass line-up to create extremely punchy and fast-paced music. ‘Skatepunk’ is an energetic, fast offset of Punk usually containing skaters performing music for skaters. The music is usually quite thrashy with references to skateboarding and typically combined with a cheeky sense of humour. ‘Garage Punk’ is all about the attitude, with the menacing noise taking over the idea of a catchy melody. Lyrics can often contain sordid, heated imagery about partying, drugs and sex. ‘Punk-Pop’ merges the chaotic and fast styles of Punk with catchy tunes and lyrical subject matter. Punk-Pop became mainstream in the 90’s and in the last couple years has surged beyond belief with still a massive alternative following but with mainstream success on still independent labels. ‘Punk Revival’, like Punk-Pop has made its way into the mainstream arena, bringing an alternative style to commercialised ears. Although it has moved into a more polished and produced quality of sound, it is still reminiscent of its Punk predecessors.

 Punk Culture:

PHILOSOPHY
The Punk culture is a beehive of social movements and ideologies with plenty of ‘isms’ to wrap one’s mind around. The Punk movement was one of alarm, revolt and dissatisfaction with ideals of social justice, individualism, anti-authoritarianism, anarchism and free thought. The movement spread to many different types of people with alternate economic and social backgrounds. Therefore, the Punk scene was often linked to social liberalism, libertarianism, socialism, communism, humanism, Christianity, islam, the Rastafari movement, the Hare Krishna movement, nihilism, apolitical types  and situationists.

LIFESTYLE
Those who consider themselves ‘Punk’ tend to form a local scene within the community. The most popular traits of such a scene is their views on gender equality and anti-racism so to not discriminate but with every movement there are those who are the exception to the rule. Violence and drug use is common in such a scene which brought on the straight-edge movement to counteract this. Activities usually performed by Punks could include attending gigs and concerts, performing political and social protests, boycotts and ‘squatting’, providing shelter to those in need by taking refuge in an abandoned house. Punks stand firm on their authenticity and commitment to the culture’s ideals and philosophies, looking down on ‘Posers’ who adopt the Punks’ appearance but not comprehend what it all stands for. Most Punks hold strong anti-establishment and anti-capitalism views and are highly against bands and individuals that ‘sell out’ for financial gain. The Punk movement has influenced many other subcultures and subgroups including ‘Glam Punk’, ‘Christian Punk’, ‘Scum Punk’, ‘Nazi Punk’, ‘Street Punk’, ‘Psychobilly’, ‘Emo’, ‘Goth’, ‘Straight Edge’ and ‘Taqwacore’.

FASHION
Punk fashion is bluntly out to be as offensive, dissimilar, shocking, confrontational, defiant and outrageous as humanly possible. Punks are here to make a statement, one that you’re not soon to forget, they’re here to bring forth social change any way achievable... and have some fun at the same time!

CLOTHING
A Punks attire isn’t suited for one who wishes not to stand out. Punk clothes are representations of how they view the society they live in, with home-made and modified additions, intentionally torn, made to look as shocking as possible. T-shirts are made to be intentionally insulting with political slogans and images, patches, anarchy symbols and sometimes religiously offensive or racist which of course changes over time as the movement progresses. Leather jackets and customised blazers are a popular addition combined with large combat and military style boots. Jeans are often tight leather pants, torn and modified with spikes and chains. A popular female Punk combination was a ballet tutu with masculine combat boots. Household objects such as safety pins, garbage bags, tape, razor blades and chains were commonly used to modify clothing. Jewellery was composed of leather chokers, wristbands and silver bracelets adorned with studs and spikes. Basically, any addition that one might think could cause alarm to the general public or promote diversity and individualism was used with free-reign.

HAIR
Punk hair, like Punk clothing, is to make a shocking statement and express individuality without the limitations of social constraints. Punk hairstyles can range from a crew cut, a shaved head, cropped and messy hair or a huge confronting mohawk.  The hair is usually dyed excessive, unnaturally bright colours with an asymmetrical cut. Popular hairstyles include ‘liberty spikes’ which are long, hard, distinct spikes, and ‘charged hair’ which stands on end in every direction.

BODY MODIFICATION
Tattoos and body piercings are the popular choices within the Punk scene, of course with more extreme body modifications taken place in Punk subgroups. Traditionally tattoo would involve scandalous images such as a Nazi Swastika or an iron cross. Over time these images have been modified to be less offensive to other cultures without losing the shock factor, such as a crossed-out Swastika or other anti-racist symbols instead. Piercings are usually found on the face but in exchange for normal jewellery they would be replaced with other items such as stretchers, safety pins and chains.

Emo Article

by Aaron Green

‘Emo... like a Goth, only a lot less dark and much more Harry Potter’ seems to be the general consensus of most uneducated jocks today concerning one of the world’s fastest growing and misunderstood musical genre’s and sub-culture. Regardless of your highly socially constructed moral standpoint on the topic, consider this your education on the mysterious and addictive genre that is ‘Emo’.

Background & History:

THE TERM ‘EMO’
The short and fast of it all, is that the term Emo (short for Emotional) essentially derives from ‘Emocore’ (short for Emotional Hardcore), a sub-genre of the mid-80’s style of music, ‘Hardcore Punk’ which originated in Washington D.C. The term today doesn’t hold much resemblance to it’s true predecessors with the word being used as an umbrella term for almost anything relating to the now sub-culture of Emo including many modern genres that hold no true bearing of history from this coined term. Hopefully we shall stay true to its entangled and messy roots, and top it all off with today’s exaggerated use of the word.

FIRST WAVE EMO
Now here’s the crash music course:
First Wave Emo music from the mid-80’s to mid-90’s was all about a new direction, moving away from the aggression and violence seen in the Hardcore Punk music scene. With new bands such as ‘Embrace’ and ‘The Rites of Spring’, the music drifted to a much more refined style. It was slightly softer and slower but with a great sense of desperation and angst. The songs were more technical with more emotional dynamic movement. The vocals were less chaotic but with a heightened sense of emotion and need, using strained sounds and techniques. The lyrical content moved from mostly political material to abstract personal accounts which in staying true to the sharp sense of emotion in the melodic phrasing, was usually a struggle to decipher or make out.

SECOND WAVE EMO
From the mid-90’s to the year 2000 came the Second Wave of Emo music. This was another shift in the genre where the growth of underground Emo music flourished. The popularity of ‘Indie-Emo’ bands was noticed and bands were beginning to move from the underground scene and into the mainstream. ‘Jimmy Eat World’ and ‘Weezer’ are the most prominent and defining Emo bands of this era, they brought their striking melodies mixed with punchy distorted guitar and loose drumming and added a bulky dose of ‘Geek’ to the mix! The lyrical content is still considered honest, emotional and abstract but with a greater sense of structure. It was at the end of the 90’s that the term ‘Emo’ was starting to be used for the first time to describe this new found mainstream genre.

THIRD WAVE EMO
Third Wave Emo contributes from the year 2000 to now. This is a time of huge growth in the progression and popularity of the music. Due to immense mainstream publicity, the underground scene has almost fully died out. The term ‘Emo’ today no longer signifies just a genre of music but a whole lifestyle and culture which incorporate so many diverse bands and styles of music that labelling anything specifically Emo is cause for great debate and ridicule. In a incredibly general sense, the ‘New Emo’ music moved even more forward, with more progressive song structures, complex guitar lines, chaotic dynamic shifts and much more honest emotional content. Stereotypical lyrics are now extremely candid confessionals with no limit to the intensity of angst and urgency expressed. This melodramatic practice seems to be what really attracts the younger generation to this kind of music. With all the progression and steps forward over time, an ironic fact is that the music has seemed to in some places, reverted or turned full-circle with an affiliated new genre such as ‘Screamo’ that resembles aspects of Emo bands from the early 90’s. Regardless of the stance one might take on the debate of ‘What is Emo music?’, one thing is certain, if a band is popular in the Emo music scene, it doesn’t necessarily adhere to ‘Emo’ as a musical genre, and to debate this, one might find an unexpected musical attack like no other.

Emo Culture:

EMO KIDS
An Emo Kid is stereotypically an adolescent who surrounds themselves with all aspects of the Emo culture. A typical Emo Kid might convey sensitive and introverted personality traits with a strong yearning to express the inexpressible. A typical teenager usually experiences an abundance of emotions and feelings such as confusion, anger, hatred and desperation but without the means for expression. The sub-culture’s foundations are laid on the avenue and freedom for these expressions. It’s within these feelings that the Emo Kid revels, their joy is found within the misery and suffering. These expressions are conveyed in how they present themselves, in song, in poetry and art. Depression, heartache, self-harm and suicide are common themes explored within these avenues but aren’t the be all and end all of the Emo Kid.

SCENE KIDS
The general perception of a Scene Kid is a ‘Happy Emo Kid’. A scene kid is highly focussed on and influenced by music and fashion above anything else. They pride themselves on their love and vast knowledge of music and bands. This filters down into the fashion which consists of brightly coloured band t-shirts and classic/vintage shoes. Like the Emo Kid, they are making a statement in their appearance but with the drive of trying to stand out as much as possible. Scene Kids are highly influenced by the surge of internet celebrities on networking sites like MySpace, which dictates the latest styles and trends of the sub-culture. On the internet, every kid is famous! With an abundance of photos, friends and an entire ‘Scene’ language consisting of new words, abbreviations and fonts, every Scene Kid is competing to prove themselves worthy of their label (which the No. 1 rule never to admit to).

FASHION
The most important aspect of Emo Fashion is the ‘Outcast Factor’. As much as an outsider might think all Emo Kids look the same, it’s all the application of individual style and non-conformity from anything considered mainstream. It’s about pushing the boundaries of social constraint. If a boy wants to wear jeans made for girls, so be it, if he gets ridiculed by it, then his job is done.

CLOTHING
Emo clothing includes tight jeans (Skinnies), undersized band or vintage t-shirts, canvas sneakers or skate shoes and anything homemade or modified. Accessories can include studded belts, horn-rimmed glasses and backpacks of vintage novelty or small childish bags such as ‘Sesame St’ which will be randomly covered in patches and badges. Body modification is extremely popular in the Emo scene, with facial piercings and tattoos which make statements and express non-conformity usually in abundance.

HAIR
Emo hair is one of the most prominent aspects that makes the boldest statement of an Emo Kid or Scene Kid. Emo hair will consist of asymmetric levels, jagged shapes, choppy lengths and disproportioned sections. Best to get your younger sibling to go wild with the scissors to get this desired effect. Emo Boys will traditionally have long bangs and fringe, brushed to one side, partially covering the face, expressing mystery and intrigue. The back can include long locks or cut short be spiked or messed up. The initial Emo Girl haircut is the same as the boys but with much longer bangs and lengths at the back coming down over the shoulders and past the chest. The top of the hair is often quite large and messy with elements taken from 60’s hairstyles. Colouring of Emo Hair will include either extreme of dead black or bleached blonde with the option of neon strips of colour placed in random or abnormal sections of the hairstyle. A hair-straightener and a large quantity of hairspray are essential implements to such a hairstyle choice.

MAKE-UP
Emo make-up is generally free for personal expression and used subtly or to the extreme. Emo Boys may add a touch of eye-liner to the bottom lid or lather it on along with eye shadow and mascara for the full rock star effect. Emo Girls are similar to this but may prefer to go for a more traditional look. A popular option is to draw patterns and designs on to the cheek such as tear drops, hearts or vines usually flowing from the corner of an eye. Again, bright neon colours are mixed with thick dark black to create an effect that stands out.

Emo Girls are often considered the ‘plainer’ of the sexes, which is not necessarily the case; it’s simply that Emo Boys are ultimately given their time to shine in this sub-culture. Emo Boys are the progressive thinkers of the society, with their appearance pushing the boundaries of hetero-norms and what is considered acceptable. Anything that tends to promote androgyny is always a winner, whether it be wearing girl’s jeans, bracelets, make-up or donning a typically ‘female’ hairstyle.

STRAIGHT-EDGE
Tattoo anyone? Why not a Straight-Edge ‘X’ on the wrist? Straight-Edge is a lifestyle choice that originates from the Hardcore Punk music scene where one would abstain from partaking in actions that were thought to ‘poison’ the body or mind. These poisons could be anything from alcohol, smoking, drugs, casual sex, and eating meat or animal products. An Emo or Scene Kid today may choose to become a vegan or steer clear from associating as someone who ‘sleeps around’, whatever may separate themselves from the common actions of their peers and makes a statement that they are unaffected by other’s opinions.

EMO BOYS KISSING
Emo Boys Kissing is a phenomenon within the Emo world that is rarely talked about in depth, but just... happens. The general initiative behind the act of one Emo Boy kissing another is to express openness to sexual exploration in a carefree fashion in order to cure boredom, to feel loved, or to gain the attention of Emo Girls who claim it is a turn-on. In today’s society where straight females kissing each other are viewed as harmless fun, the Emo Boys Kissing trend endeavours to flip the coin on this matter. Sexuality never comes into play with this phenomenon, that’s not what it’s about, it tends to be simply a means to an end.

Dave Graney & The Lurid Yellow Mist Article

by Andy Jans-Brown

It was Lismore Cup Day, and to most of the local residents this meant the shops would be closed after lunch, whilst we all sat back with a champagne or a beer and waited to see if we’d win a couple of bucks back on our each way bet. Just after six o clock the streets of Lismore started filling up with casualties returning from the track. They stumbled out of taxi doors and walked as though they were on board the Abel Tasman crossing Bass Straight in choppy waters.
Large packs of young men prowling from bar to bar, their pink silk shirts unbuttoned and untucked now, exposing the looseness of their intentions. Arm in arm stumbling semi conscious, still hopeful they might win more than the daily double and somehow charm the affections of a young, wide brim hatted vivacious tipsy filly, embodying all the flirtations of Spring.

I dressed in black leather and denim, a musketeers hat, void of a feather, with a blue silk scarf round my neck, and I took to the street, heading to The Winsome Hotel, hoping to avoid the race day riff raff by attending a music culture event. Dave Graney, that Oz Rock Royalty, that rare satirical poet songwriter and leather clad lounge cowboy was performing solo at Lismore’s local gay pub, and I wasn’t missing it for anything. I’d only just sat down when I was confronted by the wake of race day.
“Who’s playing here tonight mate?” Slurred the broad Australian accent, spitting words into my face, completely unaware that his presence in my personal space was unwelcomed.
“Dave Graney.” I answered politely.
“Never heard of him. Any good?” He continued his red-faced masquerade centre stage of my view.
“Yeah, well…he won an Aria award in 1995 “ I responded, “I’d say he was a national treasure, but I’m no fascist.” I added, mocking the patriotism of the Australian Flag T-shirt he was wearing, tied with a rugby jumper to his waste.
“D’ya like Pantera?” He added, with no address to my previous statement.
“Not really.” I offered, “But I haven’t heard much of their stuff.”
“Well on my 21 st birthday me brother called me and said….” He was becoming animated now,
“Haven’t you heard the news?”
“What news? That it’s my 21 st birthday?”
“No ya dickhead! Something much more important than that!” And the red face masquerade continued, with this race day hero playing the two parts in his own story.
“What could be more important than my 21 st birthday?” He continued is drunkard rant.
“Dimebag Darrell was shot dead on stage last night by some crazy Pantera fan.”“Dimebag Darrell was the Pantera Guitarist. Did you know that? So anyway, it’s my birthday again today and so I thought I’d back any horses with names that had guitars in them or flames, or guns coz my brother’s a mad guitarist and his guitar has flames on it.” He continued to talk in such circles as though I should proclaim his logic for picking Lismore Cup winners as genius, and then after I refused his offers for a drink or an ecstasy tablet he moved on to the next unsuspecting victim.
I turned to my good friend Captain Dave Stewart,
“Neo Spartan” I said.
“Blah blah-barian!” He added and we both laughed, noting our private joke about the similarities between our Australian Rugby culture and a ancient warring nation from the Grecian period called The Spartans, who left behind no significant artefacts or artistic contribution; only legendary myths of their homosexual army that were feared wide and far for their skilled violent raids.
“We’re such wankers aren’t we?” I added in self-mockery hoping to even the scales.
“We’re artsy!” Said the Captain with a well-rehearsed pompous tone.
It was around that time ‘Henry Wagons’; the support act came on and played his acoustic set with a swagger of poetry and a tight right hand.
“A charismatic performer!” I turned once more to the Captain, my closest neighbour in the peanut gallery.
“Yeah he’s good!” he responded with an upward inflection.

I moved down the front during the break to get prime position for Dave Graney’s set. I hadn’t heard his new album yet and wanted to hear all the words and witty phrases of this poet’s new work. Graney came on stage matching me, dressed in black leather, but with add ons of black chiffon and nylon, and a Fidel Castro Black Cap.. If the village people had’ve had a token communist alongside the Indian, the Cop, the Construction Worker and the biker, then Dave Graney’s leather Castro would’ve got the gig.
Dave was well and truly settled in to his set by the time he played radio hits such as, ‘The Stars’, and ‘You’re just too Hip Baby’, engaging in comic banter with the race day audience and looking very much at home with his twelve string guitar doing rare versions of his band songs. He introduced some new ones, like ‘Let’s Kill God Again’ with its anthemec chorus and playful poetic groove. ‘I like to be haunted’, another instantly catchy song from the new album, ‘Punk Dies!’ and ‘You had to drunk’ both had me laughing and crying in recognition of Mr Graney’s witty perception, artistry and unrelenting dedication to songwriting which has now spanned thirty years since his early days with The Moodists and later The Coral Snakes.
He finished off the show with a tip of the hat to David Bowie, The doors, Arthur Lee and Love and Tim Buckley. It was an excellent show and one I shall remember for as long as senility keeps at bay. After the show I was lucky enough to have a couple of words with the ‘King of Pop’. He commented on my outfit.
“A man after my own heart.” He said.
“I only dress in leather and denim these days. Good durable fabrics. Dressed for the end of the world.” He added with that playful hint of humour that he is famed for.
Do check out his latest album, ‘We Wuz Curious’ by the Lurid Yellow Mist featuring Dave Graney and Clare Moore, it is in my opinion one of finest Australian albums of the past decade, blending soul, punk, R and B and pyschedelia seamlessly and all held together with that Dave Graney power of observation that has earnt him his thrown and crown as an Australian cultural icon. I noted traces of Marvin Gaye, Frank Zappa, Lou Reed, Miles Davis quartet, Prince, Steely Dan, Jimmy Tennor and Serge Gainsbourg. All of which are very tasty ingredients in deed and may contribute to why this CD hasn’t left my player since I bought it. There is a sticker on the CD cover , it reads, “Dave Graney and Clare Moore have been playing music since punk rock in the late 70’s and have never put out a bad album. They have suffered from being ahead of the pack. Always.”
I believe this to be true.
Check out their websites as well:
www.thedavegraneyshow.com
www.myspace.com/davegraney
www.myspace.com/claremoore