As soon as I saw the title (Lit Up), I had to play your song to see if it was a cover…Of Buckcherry? Surely not, but imagine if it was!..Plus I know of another song called Lit Up, different again, but might as well share it:
Didn’t realise these guys were from Melbs. Great track, about Carol and Trevor.
Lyrically he’s awesome. The song about the country cop is amazing, great storytelling and Australian imagery. I can’t think of the title but there’s a line he repeats “Money’s tight when you’re a Constable”
EDIT The song is actually titled ‘Constable’
that was a great set I (kinda ha) remember it!
Thank! Then I listens to this. Gonna go into Fitzroy and get the album tomorrow
Doug Stanhope sent me there but I get the feeling I shouldn’t be listening to Birdcloud . Still who can resist 2 potty mouthed Southern Jewish girls singing real country music.
PS this is as close as they get to family friendly. Try Black Guys or Saving myself for Jesus.
They’re touring later this month.
Just stumbled upon this, like the reference to Geoff Blethyn.
Ha that’s the booker at my local, great lad. Think he might be on here too…
Not sure if this band has been featured on here but if you like old fashioned rock a la Led Zep, give this a listen
No idea who they are or what they’re on about but the piano player is seriously cool. Definitely been listening to The Bad Plus. And why shouldn’t she/he?
They’ve been described as Trailer Park Dylans but that can’t be right, Dylan can’t play country for ■■■■.
Bought this for under $20AUD (+ shipping) x2LP also includes a mixtape album. Absolute bargain!!! I’m stoked because it’s a lovely, mellow, progressive in parts and reflective hip hop album. Slept on and underrrated considering it’s a collaboration involving a few DITC members. Very easy listening hip hop even for those who find the genre hard work.
Brad Mehldau is the foremost piano improviser of his generation and his latest CD is a homage to Bach, who was also a great improviser according to classical historians. “After Bach” alternates straight Bach pieces with improvised modern works based around similar themes and it sounds just fine. Anyone who has listened to Mehldau knows he has been openly influenced by Bach and he has the technique to do the project credit. Fascinating release.
Just on Focus… another true story.
In another lifetime, l was Activities Officer on the Student Council at Swinburne, when it was still a Tech college. In mid – 1974, I think it was, l was looking for bands to put on at a monthly union night, as they were called, when one of the agencies, Mushroom l think, offered us Focus. They explained that the band had been booked for a certain number of gigs, but ticket sales had not been as good as expected, and so they were offering us the band to do a concert for the sum of $2000 if we were interested. We were! I got confirmation from the executive to go ahead. The date was set, for a Friday matinee show, of the same week. I then had three or four days to hunt around for a venue. I started ringing around, all this in the middle of end of semester exams. l struck pay dirt when l rang Dallas Brooks Hall, acoustically the best venue in Melbourne in those days. They had a spot available for a booking and would l like to come over to East Melbourne to inspect the venue. I didn’t hesitate, but jumped in the car and zoomed straight over. At the front door l was met by two or three men in full dinner suits, complete with bow ties, in stark contrast to my patchwork poncho and wooden clogs. I was a hippie in those days and was in full regalia as l was given a very polite and full guided tour of the hall. They showed me their booking schedule for the hall, with some engagements stretching into the new century, a full 40 years or more into the future. The price at the time was more than reasonable, it was a downright bargain, some $190 for our midday show, and only $400 for an evening. Without hesitating l confirmed the booking.
The next thing to do was to promote the show. We rang the student councils at Caulfield and RMIT and told them the show was on, it was a definite go. The price we were going to charge was the princely sum of $2. We didn’t need to charge more as we didn’t need to make any money. The hall would hold 1200 people, so as long as we filled the hall, we would come out slightly in front. The council would have been prepared to take a loss of $400 as that was the usual budget for a union night anyway. Within a couple of hours we got a phone call from the Teachers’ College in Frankston telling us that Focus were coming to Dallas Brooks Hall on Friday for $2, and we better tell everyone at Swinburne so they didn’t miss out. The word of mouth had worked wonders, in a few hours. Then it was back to the exams, which ended on the Thursday.
Come the Friday, the executive reserved the centre section of the first 8 or so rows, premium seating, l invited my brother to come along. Sebastian Hardy came on and played a great set, which went for an hour. Then we settled down to wait for Focus. We waited and waited. Finally after 20 minutes with no sign of the band, l remembered l had a Frisbee in my bag. I pulled it out and in one fluid movement threw it up and backwards. The Frisbee then proceeded to be passed around and the hall, to all three levels. At one stage it flew behind the speakers on stage. A chant soon went up and continued until one of the road crew sauntered out and answered the call, by throwing the Frisbee back into the crowd. The highlight of the Frisbee throwing session was a guy on the corner of the second level with his feet up, hanging over the edge. He grabbed the Frisbee then duly dropped it, and caught it with his feet. Not long after the house lights went down, l got the Frisbee back.
Focus took the stage. Thijs Van Leer was a lively little leprechaun, while guitarist Jan Ackerman was all slick and cool technique. The highlight of their set was a twenty + minute long version of the title track from Hamburger Concerto, which was their then current album, complete with a dry ice cloud that streamed off the stage and all but buried us in the prime seats. Ackerman was making good use of the voice tube, which he played along to, a la Jeff Beck and later Peter Frampton.
The sound was brilliant, as expected of Dallas Brooks Hall. One guy from the student union council had rigged up two mikes at the back of the hall to record the concert. They were seen and the band told us to take them down, no bootlegging allowed. They were duly removed, but were replaced by other less conspicuous mics. The resultant recording was brilliant, better than their ‘official’ live album. They also played Hocus Pocus of course. After the show, l went backstage and interviewed them for the college paper “Scrag.” Their stage personas was reflected by their backstage characters. I asked Ackerman about a new guitar that had come on to the market, bearing his name. He was mildly disgusted with it, and said the neck was so flexible it could have been used to fire arrows. On stage he had played a beautiful cherry red Les Paul Gibson. The show was a huge success. We had filled Dallas Brooks Hall in a matter of a few hours, with zero need for publicity, had paid both the bands, and the hall, and all up the student council had outlaid only about $100.
A few months later we got called up again and offered the late, great Bo Diddley on a similar deal. We decided to take up the offer. However, the second time around things did not go as smoothly as planned. At the last moment, the date was changed. Which meant l had to find another venue as the original venue was already booked for the new date. I should have pulled out of the deal right there and then. Instead l rang around for a new venue and at short notice got one, Malvern Town Hall. The only trouble was, by then there was no time to promote the show, and the new time slot was mid–week, at night. We managed to get one free plug on a radio station, but that night we only got 50 – 100 people in. If Bo Diddley was phased, he didn’t show it. At one stage he invited everyone who was in the hall to come down in front of the stage, and he turned the show into a private little dance party. We lost a lot of money on that show, and l told the agents, to forget about us taking on anymore acts like that in the future. And just like that, my career as a concert promoter was over.
And to see it used in a chase sequence in Baby Driver was well overdue, it always had potential to be used on a movie soundtrack for a stop/start chase sequence I thought
New Parkway Drive, Pennywise, No Fun at All. Good times
Can’t say I’ve really enjoyed either of the new PWD songs.
Ire had some hidden gems (writings on the wall, the deathless song, crushed) so I’m hoping the new album is the same