We did a show on Friday night at the Queen’s Arms on Wright Street. (The old pub used to be called the Old Queen’s Arms, but then they renovated.)
Anyway it is, as one Mr Dylan Woolcock noted, something of a “gauntlet”. They have a front bar, a games area, a pokies bar, a meals area, and as the fifth finger on the glove, a band room, which I did not previously know was there. It’s not too bad a space at all. I’d to pack it out, someday.
One of the characters playing before us was a guy called Little Hefty, who I had not previously heard of but who sounds a bit like Jack Johnson vs Bob Marley and has the same kind of “laid back beach funk” vibe as Johnson. I enjoyed listening to this guy, who can sing better than most. His quieter, finger picky numbers appealed to me more than the funkier stuff but generally it was all worth seeing.
Try his Myspace and watch the vids, looks like they are from a gig at the Wheatsheaf. The last one is the best.
A while back I made the mistake of downloading a “rare” previously unreleased Buzzcocks album from 1976, called Time’s Up, dating from when Howard Devoto was still singing for the band.
Why the hell do I do things like this?
Let’s look at the facts:
Devoto can’t sing as well as Pete Shelley and I really only like a few songs by his other band, Magazine.
The band had only been around for a year or less and the songs are all hasty demos.
The band chose to put out all the best stuff from this early period on the Spiral Scratch EP, including better versions of four of these songs.
The band chose not to release the rest of this recording, but instead went back into the studio to re-record the same songs from a full length album, with Shelley singing.
Howard Devoto left the band saying he was bored of their music
So, bad demos with a bored lead singer from a band who hadn’t really found themselves yet, and which they chose not to release. Obviously the smart thing to do would be to AVOID this record. So naturally I downloaded it and listened to the whole thing.
OK, so, I admit to liking Billy Idol’s first band, Generation X. They were fun and “punky” and all about the hair, and generally they were not to be taken seriously and there’s a place for that. Their first record (the only one worth a mention) came out in 1979, as the band cheerfully rode that wave of second-rate commercialism that came through after the fist wave of English punk bands had either given up or gone arty. And personally I do not blame them at all. Someone else would have done it, and probably done it much worse. At least Idol can actually sing, his lyrics were kind of funny and cynical and took the piss out of commercialism while also embodying it, and, the band wrote decent power pop tunes to back it up.
They got semi-popular in the UK but never made it in the US or Europe, and although they always feature on those interminable ‘Spirit of Punk’ singles compilations, they are otherwise not referenced that often in the history of the times, probably because they were so utterly inconsequential.
That is, until Green Day started covering their ballad “Kiss Me Deadly” in concerts, and that same song got put on the end of a major summer movie, SLC PUNK.
Now, the U.S. is full of geeky teenagers learning to play that riff on acoustic guitars, and talking about the original Gen X version as “the SLC version”, and getting paid out by “real punks” who still have the thing on vinyl, and can remember when Billy Idol’s sneer hadn’t set and become permanent.
How funny, to think of this cheesy commercial pop-punk band being held up as “old school”, and potential new fans of the band being called poseurs. I wonder if anyone has actually said “I was into Generation X before they were cool!” yet.
Dudes, they were never cool. Just look at them for godsake.
Anyway, I chose not to put Kiss Me Deadly on here, but two other tracks from that record, both in player and mp3. Enjoy.
Now that all my own musical aspirations are focused on various live / jamming projects this blog here can return to our regular “mp3 of bands what I like bulk good” type of blog.
First one up isn’t a band per se but a singer song-writer by the name of Loudon Wainwright III who I was introduced to back in 1992. My housemate Hickey produced this battered old 2 dollar LP from 1971, with a funny looking geezer on the cover, and we listened to it about once a day for about six months. I think I was particularly entranced by the guy’s voice. Back then he sang in this high-pitched anxious, slightly pathetic wail, that makes him sound not feminine but definitely not masculine and almost like he belongs to some separate third gender of angsty singer-songwriter. I late found out he was married to a McGarrigle and Rufus Wainwright is his son, so maybe this is why.
I got a hold of it recently and realized I had forgotten all but three tunes – Baby in the House (which is good but formulaic), Motel Room Blues (which I used to cover), and, the 3-part medley ending in Glenville Reel. I had forgotten the other two parts of this but always remembered the end of Glenville Reel:
Take off her clothes and throw ‘em in the river
Wash her body and stick it in the sun
Give that gal everything that you can give her
You can give her the bullets if you can give her the gun
Great song. I don’t know why it’s called Glenville Reel, though. Glenville is in West Virginia and Loudon isn’t from there, and it sure isn’t a traditional song so I got no clue. Maybe he just wrote it while he was there.
Anyway I have lately been working on my own version, Glenside Reel, which takes its name from an Adelaide mental hospital. I’ll post a demo on the L and S site sometime in the next few months, maybe, and those who listen to both will be able to hear the resemblance.
MOTEL ROOM BLUES
MEDLEY – UNHAPPY / SUICIDE / GLENVILLE REEL
I’m trying out the audio player, just for this post.
Jet Ward was in town for a gig at the Wheatsheaf on Saturday, and some beardy character decided to organise another show for her on Thursday, the day of her arrival. We got asked to play the final slot in the resulting SCALA night, and said why yes of course anything to get people to listen to us for a friend.
SCALA has been at many venues over the years, but the current one is pretty good. SCALA is now at “Higher Ground” which is in the building of the old “Night Train” theater restaurant on Light Square. Do you know in the twenty years I have lived in Adelaide I never actually got around to going to the Night Train? Or, jumping off the Morphett Street bridge into oncoming traffic? Or, drinking bleach? Time just slips through your fingers doesn’t it?
Anyway we did a “banjo only” show which meant that seeing as we only did ten songs I decided to only bring one instrument. The crowd was generally appreciative and it was a good set up for our upcoming gigs in December.
You say you’ve not heard of SCALA? What do you think the name means?
Myself and Louise and Jeremy Phillips and Michael Heim had a jam a few weeks back and there are recordings which are not for public consumption owing to their brain melting brilliance. Only those in the know get the hyperlinks.For the time being.
Jeremy has suggested that the name for this outfit be called Posse of Awesome and I do not have a better name.
There is apparently some a video of us on Facebook singing a very drunk version of Anarchy in the UK in waltz time. I am not on Facebook so haven’t seen it.
The song Broken Arrow has been around since about 2006 I think. I did a very jazzy recording of it when we were living in the Solomon Islands for Lee to sing, but we never finished that series, so it remains as an instrumental version.
I recorded this much simpler acoustic demo version yesterday, for use in an ensemble featuring my wife Louise Kleinig, Michael Heim, and Jeremy Phillps, and old mate from back in the day.
I am an Australian guy who likes and plays lots of different styles of music, mostly for kicks.
There's samples of my own stuff here as well as lots of mp3 goodies from other bands I love; folk, punk, jazz and just whatever sounds like it has its own thing going on.
Everyone's been awful nice...