Boundary Road Mixes

I am making a new CD.

It is going to called Boundary Road, on account of that is where I live now.

It is a counterpart to a CD I made in Adelaide / Honiara few years back, and gave copies to a few folks, which was called Live at Home. 

The style will be noisy folk, with banjo and mandolin and drums and yelling, a bit similar to some of the Luker and Southern stuff but without Emma Luker’s deft touch to stop the whole thing degenerating into anti-folk which is where the record is currently headed. Maybe one day Emma will play violin on a few tracks when I am back in Adelaide.

Here’s 2 sample tracks:

The Love in Your Heart

I already put up a demo of this last year. This one is better.

Sailsbury Highway

This continues the tradition of me getting Emma’s  favourite folk tunes and kicking the crap out of them. The lyrics are about me learning to drive somewhat later than most Australian men.




Luker Southern import


I just imported the old Luker and Southern site over here wholesale. That site is pretty much closed. Future gigs with Emma Luker of the one-off variery may occur but it’s not going to be soon…


The Folk Centre

Our CD (self titled) was launched on October 9th 2010, at the Folk Centre, which is on George Street in Thebarton.

You know that funny old-looking place on the corner of South Road and George St, just north of the Henley Beach Road junction, that you always drive past and wonder what it is? Well, that’s not the Folk Centre. That’s actually some church building. The Folk Centre is the building next door that looks like  an old RSL hall.

Basically playing there goes like this:

You arrive at sunset, and park in the spot reserved for the Rector, and then you go in the hall and the sound guy is already there setting up, and you say hello to him and he seems nice.

Then you muck around for a while with hard plastic chairs and old style trestle tables and you try to estimate how many people are going to show up, and you notice how big the place actually is, and you try not to imagine it full of line dancers.

Then you talk to the lady on the door who has one of those old fashioned cash register boxes with numbers on dials, and a grey plastic “ka ching” handle, and a float of two shillings sixpence in case a lot of people come.

Then you stand around for a bit looking at all the names of the past presidents of the SA Folk Federation, random banners from lots of community organizations, posters of famous people from Ireland who have also played here, etc, and those little pennants that tell you who came third in the local darts tournament in 1967.

Then, a couple of old people show up and ask you when the Bingo game starts and you have to tell them that it isn’t a Bingo night, it’s a folk concert. They seem not to mind.

Then more people show up, and you play. The stage is large and the sound is good and people sit quietly drinking wine and listening to you.

Then, they all leave, and you are left to pack up all the trestle tables again.

That’s how it goes.

(OK some of that isn’t true. Especially the part about packing up the trestle tables. The staff did that.)

We sold some CDs but there’s a few left. Check out the CD sample page.

The recording process

Recording for the debut CD occurred between about December 2009 and June 2010. We had about six sessions all up, all of them at my house. The standard day went something like this:

Emma gets to my house at about 10 after driving all the way from Salisbury and we immediately nip out the back to smoke her rolling tobbacco, drink tea, gossip, and talk about all the things we aren’t doing yet. Then we set up and select tunes to work on. Arrangement conversations go like this: “What about we do the whole thing twice and then stop?” “No, how about we do that twiddly bit twice and them come straight into the loud bit?” “You mean the A-part?” “I don’t know, why don’t you just nod at me?” “OK.”

The song thus arranged, we write song charts down on bits of paper that look like this: A A B CH & !! and we nod wisely.

I have subsequently found these sheets of paper in my bedroom studio, and now have no idea what they mean.

Then, we do several version, and either the first or the last will be the the best. We smoke more tobacco, repeat the process on another tune, and Emma leaves for the day.

Mixing occurred mostly in June and that session basically went like this. “I like it all, except that bit I don’t like,” “I think that vocal harmony would sound better if you couldn’t actually hear it”, “That sounds good turn it up louder,” etc.

After this rigorous process was complete, I spent about a day normalizing and standardizing the EQ profiles, and we were away.

Check out the CD page for more information: