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July 2003
Hello and greetings,
Have completed the first short run of gigs and having a wee rest before embarking on the second leg of live shows that will include supporting Daniel Lanois (late October), plus some further shows of my own. Hopefully venturing to some destinations that we didn’t get to on the first run... I know for sure that we are playing at the Darebin Music Festival (as I am a resident of Darebin/Northcote) on Sunday the 21st of September. Keep an eye peeled to the site for exact dates of this run... Also playing Federation Square in Melbourne, Friday September 12 and the Basement in Sydney and maybe the Clifton Hotel just south of the Royal National Park... I hear it’s rather special... Add to this a return to my fave gig of the 100 Flowers Tour – The Solarium Couch Café in Newcastle... There’s a little bit to look forward to...
‘Tis only my name on the “100 Flowers in Bloom” tour poster... Narcissism at its worst... But there’s a load of very talented people who put in some amazing work to put this show on the road... And here’s as good a time as any to give them their due... Am tres pleased with the band and the show, though still searching for ways to improve... Tis a work in progress... Steve (never plays badly) Hadley and Felix Bloxom make for a finesse and feel... sublime and subtle groove rhythm section... Listen for Steve’s work in “Canopy” and “Safety Haven”, and Felix’s touch in “Wires” and “Looking After Ourselves”... Amanda Brown has fit in really well also... Her backing vocals cover much ground stylistically, the extra guitar and keyboard work fills out the bands sound, and her stage presence seems captivating, mind you, it’s not that hard to improve on the look of Phil and myself! She’s a great woman Amanda... (Check out her CD ‘INCOGNITA’ on Vitamin records). Her violin work on “Epiphany”, “Looking After Ourselves” and “Wires” works the mood perfectly. Speaking of Phil ‘Spike’ Wales, his playing has improved so much... I know that sounds patronising – it’s not meant to... It’s a hard gig he’s got... Having to concentrate on the intricate triggering of loops and soundbites and then play a meltdown of five different guitar tracks in each song is a hard get... He plays with finesse and ideosyncracy, and to top it off he has backing vocal and melodica tasks to boot and he has the responsibility of keeping me sane. Those fortunate enough to be there will never forget his Newcastle performance... I don’t know what the criteria was for the handing out of those centenary medals but our Phil deserved three... A special mention must go to Paul Cartwright from Adelaide band Gone to Earth for filling in on bass and backing vox duties at the Gov. Hindmarsh gig... Man, did he nail it – not just accurately, but with feel and craft... We hadn’t rehearsed, still he didn’t make a mistake... He surely will somewhere play with us again. Michael Barker will be back on the tubs at some stage too. He was there on Micallef... Given the scarcity of dates I do, the late notice given sometimes, and the need for all these players to make a living and play with other acts, the lineup floats a bit... So Felix and Michael, Steve and Paul may swap around from time to time... Phil can’t be replaced... Having said that, Johnny Phillips is back from France and don’t be surprised if ever Phil uses that lame excuse,” I can’t play that Friday as I’m getting married.” to see JP back with his tiger strap...
A special mention to Tim Milliken, who mixed... He deserves to be paid three times what he gets given the work and commitment he puts in to make sure the PA can deliver what we are putting into it... He is an artist in himself, and believes in the tunes... Tim’s claim to fame is that he used to play bass in the Divinyls!!... True story... He works each song, gets right inside them and the little subtle touches he adds, filtering, perfect delay tempos, riding the bilas with the dynamics, working the mixes according to the venue, the way we are playing... This is a very mood orientated gig and very few mixers pay such attention to detail and play such an artistic role as Tim. And because of how expensive this show is to put on the road and loser me can’t pull the numbrers required to hire the crew we need, Tim also plays Tour manager and extra lugger at the same time which is so beyond the call of duty its ridiculous... But he does it... And to cap it off , he’s a very funny bastard...
Extremely happy with the visuals thinking this was the best I’ve ever had it... Aimed high and pulled it off 93% and improving... Thanks so much to Ian de Gruchy with the assistance of Simon Maidment and Ian Corcoran for editing and arranging the films that were already made and for creating new works for some of the other tracks. We’re building this show up until it becomes “Nation” at next years Arts festivals (more about this later but think of Laurie Anderson’s “United States Live”) so this is also a work in progress, but Ian is tremendously talented fella and to have him on board means so much to me. I first worked with Ian on the Sing Sing project. He came on board for the Morning Star concert because he believed in it and the West Papuan people and he is now working this. We’ll get there Ian, I promise... The ridiculously expensive projector rocks in all sorts of venues and of course thanks to all the film makers... Next time you see a gig watch for the credit roll at the end of the night to see who did the films... On stage we immerse ourselves in the vision and sound and it so helps the creative feel... I kinda feel like we’re giving value for money and whilst it costs so much to run that it precludes any chance of anyone getting paid what they deserve, let alone making a profit, I believe we’re making something worthwhile... To the Mana Management team of Bernard Galbally and Chris Gough, who try to balance the art with the business, the venues with the dates, the ideal with the painful reality... You guys rock and yes again, we will get there... And finally to Graham Ashton and John O’Donnell at EMI, who have to deal with an imbalanced and occasionally grumpy artist who in a weak moment in his 56th interview with a hangover naively slags off two of his record companies most successful artists. They are left to defend me against the company accountants who on figures alone would give me a sending off ala Glenn McGrath vs. Bangladesh. Graham is a heartfelt music lover who works for a record company because he loves music and believes in its ability to connect with people. Music fans slag off multi national record companies rightfully so in many cases. However EMI in Australia, I think do break that mould. They more often than not act in a manner that is sympathetic to the artistic desires of their artists. They behave like they are working with art, not plastics or fiscal shares and have proven to me on enough occasions to have good politics (witness their supportive role in the Morning Star Concert and at present Graham is pushing for Nation (of the Heartless Kind) to be the next single so that we can push the Kyle Neaves film for that song which is solely made up of poetically strong slow motion footage of the Woomera detention centre. Graham’s idea is to superimpose the lyrics over the footage to give (in his words) added political bite to an issue that is finally biting and maybe sticking to this Teflon PM of ours... So, we’ve just completed Part A of the live work in support of the Hotel Radio.
I stand by my criticism of Norah Jones in Iain Sheddon’s Australian article for barring Amanda Brown from singing at the Opera House. An appalling decision that maddened and offended Amanda to no end and was not justifiable under any circumstances (sisterhood?). And re: my criticism of Kasey’s “Not Pretty Enough” winning the APRA song of the year, I was taken out of context... My point was the APRA awards already have a “prize” for the song that had the most air-play, and sold the most units and that in the award for “Song of the Year”. Here was a chance to reward artistic excellence and ingenuity in songwriting like the Mercury Awards do in the UK... I have nothing against Kasey... Tho she does sing in an American accent. Mind you, she ain’t alone in that regard...Whatever just thought I should explain ...
## A few people on the Swarm discussion group have been discussing the soundtrack to Mark Joffe’s film, “The Man who Sued God” and in particular the Cockatoo cue. It’s funny you make mention of that cue because it sat in my list of music ideas to be considered for the album. I tried a few times to work in lyrics and turn it into a song... I loved the chords and melody and it had the formula ie ascending melody, descending bass progression... All it needed was a vaguely sexually suggestive lyric and we would have had a hit (reference Michael Barker’s hit formula)... Anyway, if there’s enough interest Mana will manufacture 50 or so copies of the TMWSG soundtrack CD and sell them over the site... Between the score for the film and the tunes recorded that for some reason or other didn’t make it into the final film mix there’s a good 40 minutes of music...
Whilst talking bout the discussion group, there was a request to get some photos from the tour posted... Our lighting unit visuals person Deb Hatton’s sister took some great photos at sound-check at the Corner which captured the films as well... I’ll see if I can get them, to Rik and up for all to peruse. Hey, I greatly appreciate the feedback I get from the discussion group when I get round to reading it... Keeps me on my toes. Seems like a good bunch of people... There’s some interesting, often amusing perceptions and comments and is a good way for me to stay in touch and not lose sight of your perceptions which is bloody important... Rik keeps me informed of the important stuff... and I do get round to having a read every couple of weeks... So thanking y’all!!!
Cake will get back together for some Spiegeltent shows, maybe a quick jaunt up North. Helen and I are in the very initial stages of working up an orchestral version of Weep (off Curious), Sad (off Act of Free Choice), Luya Head High Meris/Bula Bula Hed High Meris (In a Savage Land soundtrack). There’s elements in each of these tracks that flow through each other and the idea is to compose for orchestra, with the aim of getting it performed, a piece based around that cascading Trobriand islands melody, using the grinding chords, conch shell drones and simplicity that changes mood gradually and with beauty and subtlety. Helen and I have talked bout it for a while... just a matter of getting started...
Tis all a little quiet at present... Plan to mix the Telek record over the next month now that Tim has finished his circus Oz duties. There are some beautifully simple songs he has recorded... Was editing Paska (a bright stringband toon), Pidil (very much like the song, “Tabaran”) and Kerevat (an acoustic pop song with Helen’s cello weaving amongst George’s vocal)... If you’re bored, visit George Telek’s website.
Am very much looking forward to heading up to Bougainville, Rabaul and the Bainings for three weeks... sit in the village, swim, read, walk talk, watch my two girls, discover the beauty of Melanesia... Do a couple of gigs with George, Ben and Glen on their home turf... Relax... Escape from the clutches of advertising and the city and Richard Alston... it drags you down... sometimes you are better able to combat it... other times it grinds at you... the constant badgering, malaise, the slow drip effect of urban commercial waffle... too much naomi robson... that’s what is happening presently...
## NEXT SINGLE? What do people reckon? Does it even matter? Am I just sticking out my arse for Nova, MMM and Fox to flick it with a metal ruler and inflict sharp hot pain... I guess it does focus attention and give the album some more life... The main choices are “COME AROUND” and “NATION(OF THE HEARTLESS KIND)”. As I mentioned before, Graham Ashton was keen on the idea of Nation to utilise Kyle’s Woomera video. I always thought Nation has great potential as an indie single with its groove and push... Safety Haven and Epiphany and On a Day Like This have also at various times been spoken of as potential singles.
MUSIC I’ve been listening to and would recommend... The following releases are all Australian artists, mostly non major company releases, and all deserving of some level of support... There’s so much good music out there...
ALL INDIA RADIO on Inevitable records... highly recommended band ambience
STROBE COMA VIRGO – PHIL SLATER Sydney trumpeter who played on the album... if you like Talk Talk and the Nex you’ll like Phil’s stuff
BLOOD ORANGES – MEL OXLEY/C ABRAHAMS.
INCOGNITA – AMANDA BROWN both Mel and Amanda’s cds are on a great Sydney label called Incognita
SNOG – BEYOND THE VALLEY OF THE PROLES
ABOUT A BOY – BADLY DRAWN BOY... I’ve been putting this on first thing in the freezing winter mornings... Tis a cheery calm way to start the day...
GENEVIEVE MAYNARD – GHOST NOTES
EMIT – CREATIVE INDUSTRIES STREAMING STUDIO
INTO MY ROOM – FRENCHAM/SMITH (Elizabeth Frencham, Fred Smith)
OONAGH SHERRARD – MOUTH OF THE SKY
MAYFLY – ANOTHER BLUE DAY another beauty!
MACHINE TRANSLATIONS – HAPPY
Am reading a history of West Indian cricket by Michael Manley. It parallels the games development in the Caribbean with social changes there... a fascinating read... what I would give to have seen Headley, Worrell, Weekes, Walcott, Ramadhin, Sonny Valentine, Colly Smith and a young Gary Sobers play... Mind you if someone put out a video exclusively of Michael Holding running into bowl I’d probably sit up all night.
Looking forward to the Spinal Tap folk music film, "A Mighty Wind"... Enjoyed watching Christopher Guest deliver a couple of swift back handers to Rob Sitch on the panel the other night, as did virtually everyone I know.
A war for regime change now... hardly justifiable...
I know its been around for a while but a weekly check into crikey.com helps the soul and gets you thinking a bit laterally... which can't hurt
Sorry tres bored... have gone on too long here...
Adios, DB
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