tag:blogger.com,1999:blog-2166304471544505422024-03-13T21:40:34.991+11:00Notes From The Dark Corner Of a Sunny Room...An archive of work by Australian freelance journalist, critic and writer, SAMUEL J. FELLSamuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.comBlogger336125tag:blogger.com,1999:blog-216630447154450542.post-67430033258880794162017-01-14T13:23:00.000+11:002017-01-14T13:23:19.705+11:00NEW WEBSITE<div style="text-align: center;">
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-86406780209620541682016-12-09T18:04:00.000+11:002016-12-09T18:04:41.414+11:00Record Review - Wayne HancockPublished in the <b>Shortlist</b> section of <b><span style="color: red;">The Sydney Morning Herald</span></b>, and the <b>EG</b> section of <span style="color: red;"><b>The Age</b></span>, Friday December 9...<br />
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<a href="https://4.bp.blogspot.com/-xyheRoY4yss/WEpXVGVTX8I/AAAAAAAACFs/hbbR29cBmzER1QXEXohJAM8BS06vxMCeACLcB/s1600/WH%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-xyheRoY4yss/WEpXVGVTX8I/AAAAAAAACFs/hbbR29cBmzER1QXEXohJAM8BS06vxMCeACLcB/s200/WH%2BCover.jpg" width="200" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Wayne Hancock<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Slingin' Rhythm</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Bloodshot Records<o:p></o:p></span></b></div>
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<b><span style="font-size: x-large;">W</span></b><span style="font-size: 13pt;">ith his eleventh studio
album, Wayne ‘The Train’ Hancock has proven, once again, that he is indeed the
master of juke joint swing. The Austin, Texas-based Hancock, who’s been active
since the late ‘70s (although not releasing his debut record until 1995),
delivers here a set that embodies the foot-stompin’ American south; a melding
of western swing, hillbilly and country, along with elements of jazz, to create
a sound that, while a throw-back, comes across as fresh today as it would have
been in the day of Bob Wills.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">With a crack band behind him,
Hancock is at the height of his powers – the humid and slow Dog Day Blues, the
rollicking title track, the jazz-inflected instrumental Over Easy, a fine
reimagining of Merle Travis’ Divorce Me C.O.D. The man’s laconic delivery, his
mastery of the form, all this combines to create a record which just flows –
it’s not forced, it’s not pre-meditated, it’s not slick and sharp. Nope, it’s a
Friday night in a lean-to tonk somewhere in Texas, sweat running down your back
as you shuffle across the dance floor, cold Lone Star beer in hand – a cracking
release from the master.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;"><b>4/5</b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-15241644655379512472016-11-13T19:22:00.000+11:002016-11-13T19:22:37.467+11:00Record Review - Archie RoachPublished in the December issue of <b><span style="color: red;">Rolling Stone</span></b> (November 2016)<br />
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<a href="https://2.bp.blogspot.com/-qDK2zyM5TVs/WCgilPbUkJI/AAAAAAAACFY/MjHfbLIpWEUIO2k-dkPlbI7Qo4IWWaXvwCLcB/s1600/AR%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-qDK2zyM5TVs/WCgilPbUkJI/AAAAAAAACFY/MjHfbLIpWEUIO2k-dkPlbI7Qo4IWWaXvwCLcB/s320/AR%2BCover.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Archie Roach<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Let Love Rule</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Liberation Music<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="font-size: x-large;">A</span></b><span style="font-size: 13pt;">rchie Roach’s tenth record
is a gem. At its core is the theme of love, but overall it’s an eleven
song-long message of hope, “what I wish for” as Roach himself says. Covering a
range of styles, </span><i style="font-size: 13pt;">Let Love Rule</i><span style="font-size: 13pt;">
centres around his deep and rough-edged voice, the mainstay through these songs
which paint vivid pictures of a theme which in no way seems clichéd or overused,
not in Roach’s hands anyway.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">The addition of the Dhungala
Children’s Choir and the Short Black Opera Choir on the title track and No More
Bleeding is a masterstroke; Jen Anderson’s violin throughout plays a pivotal
role; the songwriting is poignant and as strong as ever, on an album which fair
oozes soul and honesty.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">4/5<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Key Tracks: </span></b><span style="font-size: 13.0pt;">Let
Love Rule, Mighty Clarence River, No More Bleeding<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Check Archie Roach's Website <a href="http://archieroach.com.au/">Here</a></span></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-58884744211502241392016-11-10T13:07:00.000+11:002016-11-10T13:07:26.373+11:00Comment - Trumped<div class="MsoNormal">
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<b><span style="font-size: x-large;">T</span></b><span style="font-size: 13pt;">he rain has stopped. It’s
cooler now, the aroma of wet earth rising and mingling with the cigarette
stench and the smell of fish off the barbeque, long since eaten, digested;
we’re on to bourbon now, beer chasers, rolling new smokes and lighting them
with the stubbs of the old.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">A clutch of moths hatched
somewhere in the garden earlier today and so the lights out the back are
being bombarded. Tiny flying insects chasing their sun. Bumping and buzzing with
a ferocious intent, getting stuck in your eyelashes, your ears. <o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Aside from their buzz though,
the croak of the odd frog, the cicadas, it’s quiet. Claire’s gone to bed and
I’ve shut down the endless Twitter staccato; the rolling analysis from the <i style="mso-bidi-font-style: normal;">New York Times</i>; the ABC; Fox News; all
the rest. Shut down the apps on my phone, closed all the windows on my laptop.<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-fuy78QH5W_Q/WCMII_KltLI/AAAAAAAACFI/6LmvZF2VbDk0C-aJAEPWr0oU19mr-jgSQCLcB/s1600/Trump.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="185" src="https://4.bp.blogspot.com/-fuy78QH5W_Q/WCMII_KltLI/AAAAAAAACFI/6LmvZF2VbDk0C-aJAEPWr0oU19mr-jgSQCLcB/s320/Trump.jpg" width="320" /></a></div>
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<span style="font-size: 13.0pt;">A couple of hours ago, Donald
J. Trump was named the forty-fifth president of the United States, a notion
which, only a few hours before that, was regarded as a long shot, a laugh, a
joke, and a bad one at that.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Earlier, we’d sat and
followed the results as the storm front came over, lessening the humidity, the
grey sky lowering as its moist loins girded and eventually birthed upon the dry
and crackling north coast a torrent. We watched as Electoral College votes
stacked up, and even though this was happening half a world away, we kept
watching, swapping stories we’d heard via various news sources throughout the
day.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">I was on deadline, not an
urgent one, but closing in, three days with the majority of reportage behind
me, three days in which to ruminate and write. I let it lie though, gave away
half a day, pulled down the rabbit hole by the events unfolding with alarming
rapidity across the Pacific. <o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">I, like everyone else, have
spent the better part of a year smirking at memes, nodding with faux-educated
agreement at analysis, talking with friends and work mates about how this
imposter dares set foot upon the hallowed turf that is a presidential race, and
yet here we are now. An angry white male, about to take up a post in The Oval Office,
in The White House.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;">Indeed, it’s never been
whiter.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;">At some stage, not long
before the heavens opened, we talked with my sister on Skype and the three of
us asked each other over and over how this could be happening. My phone, open
to some graphic or other, sat on the table next to my laptop and
mid-conversation, I’d lean to the right to check results. My sister, two
thousand kilometres to the south, would periodically do the same.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;">Claire’s sister rang at some
point. They talked briefly out the back. Incredulity was the tone that floated
back in through the open screen door.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;">As we shut it down, maybe an
hour ago, the analysis was starting to filter through. What next? What does
this mean? Where to from here? I don’t know and don’t pretend to. All I know is this
has ceased to be a sick joke and is now a sicker reality. It’s the uncertainty
that’s the killer, the feeling that anything at all could happen, and that most
(if not all) of it won’t be of the notion that respect, inclusion and diversity
is the key to a new world order.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;">The uncertainty, that’s the
killer.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-size: 13.0pt;">The rain has started again.
The moths and frogs and cicadas have gone. There’s another storm brewing.<o:p></o:p></span></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-61230680464985397852016-11-04T08:50:00.002+11:002016-11-04T08:50:45.483+11:00Record Review - Claude HayPublished in the <b>Shortlist</b> section of <b><span style="color: red;">The Sydney Morning Herald</span></b>, November 4.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-1bqBuQvOXrU/WBuxAlJNr7I/AAAAAAAACE4/z_BlOesNBCgakmVtWIe1OST-uiI0nAH0wCLcB/s1600/CH%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-1bqBuQvOXrU/WBuxAlJNr7I/AAAAAAAACE4/z_BlOesNBCgakmVtWIe1OST-uiI0nAH0wCLcB/s320/CH%2BCover.jpg" width="320" /></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Claude Hay<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Roller Coaster</span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Independent<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: x-large;">C</span></b><span style="font-size: 13pt;">laude Hay’s latest release
is a considered affair. It’s considered in that the Blue Mountains native has
put aside the rambunctious and raucous delivery of past releases and opted
instead for a more subtle approach, putting more focus on the arrangements and
layers these songs contain, as opposed to foot-percussion-fuelled guitar jams.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;">There was nothing wrong with
those, Hay was the master, but this is the man thinking outside the box.
Bringing in Ryan Van Gennip on bass (Chase The Sun) and Brian Cachia on
percussion, along with a smattering of cello and backing vocals, the songs
pulsate with a maturity, the mark of an artist who’s spent time thrashing, and
is now looking for something a bit more artistically substantial perhaps.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;">Still based very much in the
blues, Hay delves into mellow stoner rock territory (the title track, Love No
More); slow and melancholy (Never Say Goodbye), along with a healthy dose of
groove, all of which marry well. While his lyrics still leave a fair bit to be
desired, Claude Hay has upped the bar with Roller Coaster, further cementing
his reputation as one of Australia’s more powerful roots music performers.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;"><o:p><b>3/5</b> </o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;"><o:p><br /></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;"><br /></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">SMH Version <a href="http://www.smh.com.au/entertainment/music/shortlist-reviews-lost-animal-jodi-martin-betty-harris-claude-hay-lisa-mitchell-20161031-gsezr9.html">Here</a></span></b></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-53893178476732165232016-11-02T08:29:00.000+11:002016-11-02T08:29:14.771+11:00Record Review - Leanne TennantPublished in the November / December issue of <b><span style="color: red;">Rhythms</span></b> magazine.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Nx1rp5qGAq8/WBkA6Qwa-iI/AAAAAAAACEo/t-NFwMd2q8YgqvgBFN-2hxn_hxlq0ltLwCLcB/s1600/LT%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-Nx1rp5qGAq8/WBkA6Qwa-iI/AAAAAAAACEo/t-NFwMd2q8YgqvgBFN-2hxn_hxlq0ltLwCLcB/s320/LT%2BCover.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Leanne Tennant<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Red Wine, Late Nights</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Independent<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: red; font-size: 13.0pt;">Americana<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="font-size: x-large;">S</span></b><span style="font-size: 13pt;">inger-songwriter Leanne
Tennant’s second record is a raw affair, stripped back and simple, a quiet
power emanating from this clutch of songs, both personal and broad, all
relatable.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 13.0pt;">Tennant’s voice takes
centre-stage for the most part, whether soaring or almost whispering, the
addition on ‘The Pages Are Still White’ (a song about writer’s block) of Luke
Daniel Peacock, who’s possessed of a deep, ragged voice, a fine counterpoint.
‘Lay Me Down’ is perhaps the gentlest track on the record, fingerpicked guitar
and Tennant’s voice, there’s a certain vulnerability to the song which softens
the edges and the creeping onset of dark that defines a lot of the rest of <i style="mso-bidi-font-style: normal;">Red Wine, Late Nights</i>. The album closes
out with ‘No More My Lawd’ on which Tennant really shines vocally, a powerful
way to wrap up what is a fine record.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;"><br /></span></b></div>
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<span style="font-size: 13pt;">See LT's website <a href="http://www.leannetennant.com/">here</a></span></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-6067647708533646142016-11-01T16:48:00.000+11:002016-11-01T16:48:10.348+11:00Column - 2016 Album Wrap-UpPublished in the November / December issue of <span style="color: red;"><b>Rhythms</b></span> magazine.<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Goin’ Down Slow</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Nov/Dec 2016<o:p></o:p></span></b></div>
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<b><span style="font-size: x-large;">O</span></b><span style="font-size: 13pt;">nce again, we find ourselves
at the tail-end of another year. The older one gets, it seems, the faster time
seems to fly – indeed, another 12 months done and dusted, another year older. A
year wiser? The jury’s still out on that one.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">One thing of which I am
certain however, is that this year has been a good one for music. A slew of
fantastic records have passed over my desk these 12 months just gone, and so
I’ve been inundated with the finest sounds from all around, perhaps one reason
the year has run by so quickly.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 13.0pt;">Given this year I actually
kept a list (tacked to the pinboard above my desk), tracking releases I thought
were top-notch, here then are my favourites from 2016, in no particular order.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Black Stone Cherry</span></b><span style="font-size: 13.0pt;">’s <i style="mso-bidi-font-style: normal;">Kentucky</i> caught my ear
first up, hard and heavy southern rock. My first contact with this band, and
I’m reliably informed their earlier material is even better – I’ll get on to
that. <b style="mso-bidi-font-weight: normal;">Freakwater</b>, whose twisted take
on Americana hit me via </span><i><span lang="EN-US" style="color: #1c1c1c; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Scheherazade</span></i><span lang="EN-US" style="color: #1c1c1c; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica; mso-bidi-font-style: italic;">, were a revelation. These
guys have been about since the late ‘80s, and time has not dulled their power.<o:p></o:p></span></div>
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<a href="https://1.bp.blogspot.com/-3nly25FtuDA/WBgsTGUvQAI/AAAAAAAACEU/JLTHA5lSHc0OhPtEEmXnY8lRZ4JQFlx2gCLcB/s1600/TM%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="309" src="https://1.bp.blogspot.com/-3nly25FtuDA/WBgsTGUvQAI/AAAAAAAACEU/JLTHA5lSHc0OhPtEEmXnY8lRZ4JQFlx2gCLcB/s320/TM%2BCover.jpg" width="320" /></a></div>
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<span style="font-size: 13.0pt;">Americana was quite a theme
for me this year, with records from the <b style="mso-bidi-font-weight: normal;">Weeping
Willows<i style="mso-bidi-font-style: normal;"> </i></b>(<i style="mso-bidi-font-style: normal;">Before Darkness Comes A-Callin’</i>); <b style="mso-bidi-font-weight: normal;">Halfway </b>(<i style="mso-bidi-font-style: normal;">The Golden Halfway
Record</i>); and <b style="mso-bidi-font-weight: normal;">Tracy McNeil & The
GoodLife</b> (<i style="mso-bidi-font-style: normal;">Thieves</i>) getting solid
airplay in my office. The Willows is straight up Americana, two part harmonies,
stripped and simple, a great album. Halfway’s effort, their fifth, leant more
towards trad country, a definite smart rock injection. Tracy McNeil went from
strength to strength, her third record imbued with a distinct West Coast vibe,
Laurel Canyon and that sort of thing.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Fanny Lumsden </span></b><span style="font-size: 13.0pt;">(<i style="mso-bidi-font-style: normal;">Small Town Big Shot</i>, which has just been
nominated for an ARIA); <b style="mso-bidi-font-weight: normal;">Amarillo</b> (<i style="mso-bidi-font-style: normal;">Eyes Still Fixed</i>); and <b style="mso-bidi-font-weight: normal;">Sean McMahon</b> (<i style="mso-bidi-font-style: normal;">Shiner</i>) all produced excellent albums too, all with hints of
Americana, but all adding something else to this burgeoning sub-genre.
McMahon’s is a contender for guitar album of the year, while exemplary
songwriting defines Amarillo’s release, with Lumsden combining both a country
and pop nous to really nail her debut.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Sweet Jean</span></b><span style="font-size: 13.0pt;">’s
second effort, <i style="mso-bidi-font-style: normal;">Monday To Friday</i>, was
a pearler, containing perhaps the song of the year in ‘Main Street’, Alice
Keath’s vocals undeniable. In researching for my story on the 25<sup>th</sup>
anniversary of Fat Possum Records, I came across <b style="mso-bidi-font-weight: normal;">Seratones </b>and their debut, <i style="mso-bidi-font-style: normal;">Get
Gone</i>. A real mish-mash of rootsy sounds, set to a throbbing beat, solid.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">I was also sent the debut
cut, <i style="mso-bidi-font-style: normal;">S.I.X</i>, by Ballarat artist <b style="mso-bidi-font-weight: normal;">Matt Malone</b>. This one came from left
field and left me stunned – A “unique fusion of the traditional and
avant-garde” is how it was described, which was on the money. ‘Dissonant,
cracked, haunted’ is how I then described it in the subsequent review, a
fantastic record that was far from perfect, which is exactly what made it
virtually so.<o:p></o:p></span></div>
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<a href="https://3.bp.blogspot.com/-6QO8zfo7snc/WBgsXW3z9-I/AAAAAAAACEY/RaL80XWH560xXNsidIn1ASp6nsEDEhxIgCLcB/s1600/DW%2BCover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-6QO8zfo7snc/WBgsXW3z9-I/AAAAAAAACEY/RaL80XWH560xXNsidIn1ASp6nsEDEhxIgCLcB/s320/DW%2BCover.jpg" width="320" /></a></div>
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<span style="font-size: 13.0pt;">The last couple of records
(or perhaps they should be described as rekkids), are in a similar vein in that
they both stem from virtually the same place – some dusty honky tonk somewhere
in Texas. One literally does – <b style="mso-bidi-font-weight: normal;">Dale
Watson</b>’s <i style="mso-bidi-font-style: normal;">Live At The Big T Roadhouse</i>
is a recording of him and his Lonestars playing Big T’s in St. Hedwig, Texas.
Not only do they chug through a huge set, but Watson also calls the Chicken
Shit Bingo, as well as making up jingles for Lone Star beer – it’s pure honky
tonk gold.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">The other is the new cut from
<b style="mso-bidi-font-weight: normal;">Wayne ‘The Train’ Hancock</b>, <i style="mso-bidi-font-style: normal;">Slingin’ Rhythm</i>. This is a lesson in
western swing, taught by the master himself. It bucks and writhes, swings and
swoons, his band are killer and he’s the real deal.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 13.0pt;">So, particularly with these
last two albums, stock up on cold brew (none of that craft business…), turn ‘em
up and finish the year on a high – that’s exactly what I’ll be doing.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">(@SamuelJFell)<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell’s debut book, </span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Stars &
Hype – First Time Notes On The American Deep South<i style="mso-bidi-font-style: normal;"> is now available via <a href="http://samueljfell.blogspot.com.au/2016/09/stars-hype-first-time-notes-on-american.html">www.samueljfell.blogspot.com</a><o:p></o:p></i></span></b></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-60157987036580080362016-10-21T09:44:00.000+11:002016-10-21T09:44:29.927+11:00Profile - Kinky FriedmanPublished in <b><span style="color: red;">The Music</span></b> (Brisbane / Sydney), October 12th / 19th<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">KINKY SHIT</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Horse sex, David Hasselhoff and Canadian motherfuckers
are just a few of the topics KINKY FRIEDMAN is likely to bring up, as SAMUEL J.
FELL finds out<o:p></o:p></span></b></div>
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<b><span style="font-size: x-large;">“I</span></b><span style="font-size: 13pt;">’m going deaf, but I enjoy
going deaf,” says Kinky Friedman, seconds into this interview, “because you can
make up more interesting things that people are saying, than what they’re </span><i style="font-size: 13pt;">really</i><span style="font-size: 13pt;"> saying.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">He rounds that comment off
with a laugh – it’s vintage Friedman, the long-time satirist and songwriter,
political aspirant, general raconteur. As you’d expect, it doesn’t stop there.
“Although I’m 71, I read at a 73-year-old level,” he deadpans at one point. A
few minutes later, talking about his recent successful tour through Germany,
“I’m kinda the new David Hasselhoff.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">I mention that still touring at
71-years-old is no mean feat. “I got that from Willie Nelson, Willie’s my
shrink,” he responds. “Willie says that if you fail at something long enough,
you become a legend. Of course, the other advice he gave me, when I was running
for Governor (of Texas, in 2006), was if you’re gonna have sex with an animal,
always make it a horse. Because that way, if things don’t work out, at least
you know you’ve got a ride home.”<o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-CJc9j_PvTZc/WAlIoOQWe-I/AAAAAAAACEA/PkiBwwBLXz47c-wjQtLRCtXNiLF2C5LIACLcB/s1600/Kinky%2B1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="258" src="https://2.bp.blogspot.com/-CJc9j_PvTZc/WAlIoOQWe-I/AAAAAAAACEA/PkiBwwBLXz47c-wjQtLRCtXNiLF2C5LIACLcB/s320/Kinky%2B1.jpg" width="320" /></a></div>
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<span style="font-size: 13.0pt;">Friedman wasn’t elected
Governor, although whether or not that was because of Nelson’s advice remains
to be seen. Regardless, the man in the hat with the big cigar will grace our
shores once more this month, promoting the release of his latest record, <i style="mso-bidi-font-style: normal;">The Loneliest Man I Ever Met</i>. Not
unusual until you consider it’s his first record in some thirty-two years,
thanks again in part, to Willie Nelson.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“Willie advised me to keep
writing, because I’d stopped writing about forty years ago, at least songs,” he
explains. “They just seemed to be going up in the ether and disappearing. I
wanted to wait until the record companies were dinosaurs, which they just about
are, and until the charts and the radio stations became meaningless… when the audience
becomes the show. For better or worse, that’s kinda what we have today, so I’m
writing songs that are different than what you’re hearing on the radio.”<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 13.0pt;">The Loneliest Man I Ever Met</span></i><span style="font-size: 13.0pt;"> is a gem, a clutch of songs delivered in Friedman’s
trademark dry style, albeit a little more subdued than previous releases, a
little more subtle perhaps. Nelson makes an appearance, as do Mickey Raphael
and Little Jewford, from Friedman’s Texas Jewboys, the band he fronted through
the 1970s. He covers a number of tracks from the likes of Tom Waits, Nelson
again, Warren Zevon. He’s back in the saddle.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Talk, of course, turns away
from the record and towards touring, where he’s now attracting a much younger
audience, something he really enjoys. “They look at America in a different way
than Americans do,” he muses on the younger crowds in places like Europe. “They
seem to really relate to, say, Hunter Thompson maybe, Gram Parsons, Shel
Silverstein, people like Tom Waits, Kinky, Iggy Pop – they go outside the
mainstream, they’re not interested in that motherfucker from Canada… what’s his
name? Justin Bieber. And it’s pretty cool, it’s a smart audience and very
savvy. And that’s true pretty much all over Europe, and I think in Australia
too.”<o:p></o:p></span></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-69826538535686059682016-10-11T16:17:00.000+11:002016-10-11T16:17:26.777+11:00Profile - AmarilloPublished in the <b>EG</b> section of <b><span style="color: red;">The Age</span></b>, October 7.<br />
<br />
<h1 itemprop="name headline" style="border: 0px; box-sizing: border-box; color: #1d1d1d; font-family: merriweather, georgia, serif; line-height: 1.25; margin: 0px 0px 0.5em; padding: 0px; vertical-align: baseline; width: 940px;">
<span style="font-size: large;">Amarillo find reward in new project of their own</span><b><span style="font-size: 13.0pt;"><o:p> </o:p></span></b></h1>
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<b><span style="font-size: x-large;">T</span></b><span style="font-size: 13pt;">he term ‘side-project’ can
be a dirty one in music. With connotations of said project not being as
important as an artist’s main gig, it can often slip under the radar, nothing
more than a blip, soon to be relegated to the oft-used dustbin of musical
history. <o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Despite these implications
though, there are projects that stem from others that do stand tall in their
own right. Defined by strong writing and playing, they’re bands that truly
become their own entity – Melbourne quartet Amarillo fit firmly into this camp.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">The brainchild of Raised By
Eagles co-founder and guitarist Nick O’Mara, along with singer-songwriter Jac
Tonks, Amarillo are the real deal – a vehicle for this pair, along with bassist
Trent McKenzie and drummer Alex Rogowski, to showcase songs written outside
their respective main gigs, the band has blossomed over the past couple of
years.<o:p></o:p></span></div>
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<a href="https://4.bp.blogspot.com/-3qx7aienCh4/V_x1pKI3DOI/AAAAAAAACDs/-dJtzyLjemwIiu8d4wYKVFqQrriXq69gwCLcB/s1600/Amarillo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="https://4.bp.blogspot.com/-3qx7aienCh4/V_x1pKI3DOI/AAAAAAAACDs/-dJtzyLjemwIiu8d4wYKVFqQrriXq69gwCLcB/s320/Amarillo.jpg" width="320" /></a></div>
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<span style="font-size: 13.0pt;">“When Jac and I met, she had
a whole lot of demos, and I’m always writing songs,” explains O’Mara on the
origins of the group. “It really came about from helping each other finish
songs, sitting around playing songs together, then deciding we should play them
for the public.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“Some songs are suited to
certain projects,” he goes on. “Jac likes a lot of bands that I really love
that aren’t touchstones or influences for other bands I’m in, like Raised By
Eagles, so Amarillo is a really fun outlet for those kind of bands, those
English bands like XTC, The SUNDAYS, stuff like that.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">These influences, along with
a healthy does of Americana, define the band’s debut long-player, <i style="mso-bidi-font-style: normal;">Eyes Still Fixed</i>, which follows on from
their 2014 eponymous EP. The album, a lot of which was written on the road in
the Northern Territory, is warm and lush, the songs, as you would expect, the
true focus.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“We wanted to try and capture
the distance and broadness of the environment in [the Territory], we wanted
that atmosphere,” O’Mara explains of the album’s nine tracks. “We didn’t do it
so consciously, but we wanted the feeling of where we’d written the song, to
still be in it when we recorded it.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Produced by O’Mara’s cousin,
Shane O’Mara, <i style="mso-bidi-font-style: normal;">Eyes Still Fixed</i>
carries a lot of weight. Yes, the band’s members are known for work elsewhere,
but it’s in this incarnation that they’re shining just as brightly – with this
album, Amarillo have proven they’re something all their own.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">The Age - </span></b><a href="http://www.theage.com.au/entertainment/music/amarillo-find-reward-in-new-project-of-their-own-20160928-grq8d4.html">http://www.theage.com.au/entertainment/music/amarillo-find-reward-in-new-project-of-their-own-20160928-grq8d4.html</a></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-5576954401311790192016-10-10T11:56:00.001+11:002016-10-10T12:01:47.252+11:00Record Review - Beth HartPublished in the November issue of <b><span style="color: red;">Rolling Stone</span></b> (Aust.), October 2016<br />
<br />
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<a href="https://2.bp.blogspot.com/-sMxeq2qDIkU/V_rnLgW6E7I/AAAAAAAACDM/jj23DpS88bwJzmapVVT5Z8a7d-Cz9kWLgCLcB/s1600/Beth%2BHart%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-sMxeq2qDIkU/V_rnLgW6E7I/AAAAAAAACDM/jj23DpS88bwJzmapVVT5Z8a7d-Cz9kWLgCLcB/s320/Beth%2BHart%2BCover.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Beth Hart<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Fire On The Floor</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Provogue / Mascot<o:p></o:p></span></b></div>
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<b><span style="color: red; font-size: 13.0pt;"><br /></span></b></div>
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<b><span style="color: red; font-size: 13.0pt;">Beth Hart finds her musical space with
eighth solo release</span></b></div>
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<b><span style="font-size: x-large;">B</span></b><span style="font-size: 13pt;">eth Hart’s new release, her
eighth solo album, is on a new level. There seems to be an assuredness to her
delivery here, to her lyrics, she seems to have found a spot in which to
reside, and it’s a spot she inhabits well.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Beginning with the sultry,
jazz-stained ‘Jazzman’, <i style="mso-bidi-font-style: normal;">Fire On The Floor</i>
covers a lot of rootsy ground – soul (‘Let’s Get Together’, the title track,
‘Good Day To Cry’), blues and blues/rock (‘Coca Cola’, ‘Fat Man’), jazz and
touches of gospel. With a crack band behind her, it’s Hart’s voice which takes
centre stage, as one would expect. Solid, soaring, assured. This is a new Beth
Hart, the conviction with which she now sings heralding the start of something
special.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;"><o:p><b>3.5/5</b> </o:p></span></div>
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<span style="font-size: 13.0pt;"><o:p><br /></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Key Tracks: </span></b><span style="font-size: 13.0pt;">Jazzman,
Let’s Get Together, Fire On The Floor<o:p></o:p></span><br />
<span style="font-size: 13.0pt;"><br /></span>
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<a href="https://3.bp.blogspot.com/-dxSX9HRIZOs/V_robq2T7_I/AAAAAAAACDc/p_IcEkNUNfYkg_H9FntSoWBglnTtbGYFgCLcB/s1600/Beth%2BHart%2BCD%2BRS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://3.bp.blogspot.com/-dxSX9HRIZOs/V_robq2T7_I/AAAAAAAACDc/p_IcEkNUNfYkg_H9FntSoWBglnTtbGYFgCLcB/s1600/Beth%2BHart%2BCD%2BRS.jpg" /></a></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-1525378272738125712016-10-10T11:54:00.001+11:002016-10-10T12:01:05.190+11:00Record Review - Jordie LanePublished in the November issue of <b><span style="color: red;">Rolling Stone</span></b> (Aust.), October 2016<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-1pI79JfzF2c/V_rmrWn6FcI/AAAAAAAACDI/RzTL2k0_buQvq4KYDB3TQ1GsCptTZ0xNgCLcB/s1600/Jordie%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="191" src="https://2.bp.blogspot.com/-1pI79JfzF2c/V_rmrWn6FcI/AAAAAAAACDI/RzTL2k0_buQvq4KYDB3TQ1GsCptTZ0xNgCLcB/s200/Jordie%2BCover.jpg" width="200" /></a></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Jordie Lane & The Sleepers<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Glassellland</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Blood Thinner Records / MGM<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: red; font-size: 13.0pt;">Jordie Lane picks up where he left off with
first studio album in five years<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: x-large;">I</span></b><span style="font-size: 13pt;">t’s been a while between
drinks for Jordie Lane, but as his new studio effort attests, he’s not lost
anything in the interim. </span><i style="font-size: 13pt;">GLASSELLLAND</i><span style="font-size: 13pt;">
is Lane in vintage form, his strong and warm voice framing a set of songs
astounding in their intricate telling of everyday tales in such a way as to
make them relatable to most anyone.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;">Teaming up with now long-time
collaborator Clare Reynolds, the pair play all instruments on this one, Lane’s
trademark Americana/folk still very much the focus but now with a pop nous
(think Beatles, circa <i style="mso-bidi-font-style: normal;">Rubber Soul</i>)
that adds a new dimension to a sound already brimming with diversity and sonic
flavour. This album is strong and assured, yet another stellar release.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;"><o:p><b>4/5</b> </o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 13.0pt;"><o:p><br /></o:p></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Key Tracks: </span></b><span style="font-size: 13.0pt;">‘Black
Diamond’, ‘America Won’t You Make My Dreams Come True’, ‘Dreamin’ The Life’<o:p></o:p></span><br />
<span style="font-size: 13.0pt;"><br /></span>
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<a href="https://2.bp.blogspot.com/-88BLLmY8GVM/V_roQFFXDlI/AAAAAAAACDU/wv53B__RP_4JC7d_W6zo1Hjy3lwT1PHHgCLcB/s1600/Jordie%2BLane%2BCD%2BRS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-88BLLmY8GVM/V_roQFFXDlI/AAAAAAAACDU/wv53B__RP_4JC7d_W6zo1Hjy3lwT1PHHgCLcB/s1600/Jordie%2BLane%2BCD%2BRS.jpg" /></a></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-76217643168363153212016-10-10T11:51:00.001+11:002016-10-10T12:00:16.881+11:00Preview - Jordie LanePublished in the November issue of <b><span style="color: red;">Rolling Stone</span></b> (Aust.), October 2016<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Jordie Lane, New Album</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
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<b><span style="font-size: x-large;">J</span></b><span style="font-size: 13pt;">ordie Lane gets nervous when
it comes to making albums. His 2008 debut, </span><i style="font-size: 13pt;">Sleeping
Patterns</i><span style="font-size: 13pt;">, was a long time coming, and once he’d briefly toured it, he
literally fled the country. Three hard years then passed before the follow-up,
2011’s sublime </span><i style="font-size: 13pt;">Blood Thinner</i><span style="font-size: 13pt;">, and
now, five years has passed, a gap in which Lane released an EP (</span><i style="font-size: 13pt;">Not Built To Last</i><span style="font-size: 13pt;">) and a live set (</span><i style="font-size: 13pt;">Live At The Wheaty</i><span style="font-size: 13pt;">), but a gap
conspicuous for its lack of an actual album. Until now, as he prepares to
release his third long-player, </span><i style="font-size: 13pt;">Glassellland</i><span style="font-size: 13pt;">.
True to form though, it didn’t come easily.<o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-CTdl1J6YSZ8/V_rl7ZX7opI/AAAAAAAACDA/9XdP1EN0nucpK5C71SRhKNHE03-G57eigCLcB/s1600/Jordie.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-CTdl1J6YSZ8/V_rl7ZX7opI/AAAAAAAACDA/9XdP1EN0nucpK5C71SRhKNHE03-G57eigCLcB/s1600/Jordie.jpg" /></a></div>
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<span style="font-size: 13.0pt;">“It took a long time to get
in the head space and actively start writing,” he concurs. “But it did finally
feel like we had something new to say, something we were passionate about.” <i style="mso-bidi-font-style: normal;">Glassellland</i> is the result of Lane
coming together with collaborator Clare Reynolds, with whom he’s worked before,
and stands as a sort of amalgamation of the DIY of <i style="mso-bidi-font-style: normal;">Blood Thinner</i>, and the slickness of <i style="mso-bidi-font-style: normal;">Not Built To Last</i>.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“I didn’t want it to be
either of those, I really wanted to get the best of both worlds,” he confirms,
“the naïve makeshift rawness, then the audio quality of the modern digital
recordings.” The results are something Lane needn’t be afraid of – <i style="mso-bidi-font-style: normal;">Glassellland</i> marries the two approaches
with aplomb, retaining his Americana foundation, but not being afraid to
embrace a range of aesthetics.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“It’s burst open the bug for
creating new stuff,” he says, a sure-fire sign it won’t be five years before
the next record.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;"><br /></span></b>
<div class="separator" style="clear: both; text-align: center;">
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-34312952069483955342016-10-07T08:19:00.000+11:002016-10-07T08:19:09.503+11:00Record Review - AmarilloPublished in the <b>Shortlist</b> section of <b><span style="color: red;">The Sydney Morning Herald</span></b>, October 6<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-h5XIVPAZJ94/V_a_kCyesyI/AAAAAAAACCs/SHf7Y-gIgGIB9K4tz3ui60gZPgaPdDi-ACLcB/s1600/Amarillo%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="286" src="https://3.bp.blogspot.com/-h5XIVPAZJ94/V_a_kCyesyI/AAAAAAAACCs/SHf7Y-gIgGIB9K4tz3ui60gZPgaPdDi-ACLcB/s320/Amarillo%2BCover.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Amarillo<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Eyes Still Fixed</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Gaga Diji<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="font-size: x-large;">R</span></b><span style="font-size: 13pt;">ooted in Americana but
possessed of an aesthetic wanderlust that sees the group cover a range of
styles over the album’s nine tracks, Melbourne quartet Amarillo’s debut LP
stretches out, drawing you in with Nick O’Mara and Jac Tonks’ vivid songwriting,
painting pictures of love, isolation, distance. <o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">O’Mara’s guitar playing
(perhaps best known via fellow Melbournians Raised By Eagles, of which he’s a
founding member), is top notch, particularly his lap steel playing, easily
meshing with bass (Trent McKenzie) and percussion (Alex Rogowski). Tonks takes
care of the majority of the vocals, her voice strong and assured throughout, which
when combined with the deft instrumentation, stands Amarillo apart from the
myriad other Americana acts coming out of Melbourne at the moment. There’s an
adventurousness and a want to explore sonically that really defines this
record, really adding something extra.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Eyes Still Fixed follows on
from an acclaimed, eponymous EP in 2014, which along with shows around the
country (supporting Mick Thomas and Charlie Parr among others) and overseas has
seen this unassuming group hone their already impressive chops, the results of
which are laid bare here with an easy aplomb.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;"><o:p><b>4/5</b> </o:p></span></div>
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<span style="font-size: 13.0pt;"><o:p><br /></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-12793608978832252172016-09-15T10:01:00.001+10:002016-09-15T10:01:54.172+10:00Feature - Joe BonamassaPublished in the September/October issue of <b><span style="color: red;">Rhythms</span></b>.<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">BASIC BLUES</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Having spent a few years experimenting with the form,
JOE BONAMASSA has gone back to basics, and it’s paying off, as he tells SAMUEL
J. FELL<o:p></o:p></span></b></div>
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<i style="mso-bidi-font-style: normal;"><b><span style="font-size: x-large;">H</span></b><span style="font-size: 13pt;">e strides on stage. Suited and tall, he casts a
shadow. Slim shades covering his eyes, hair slicked just so. He’s done it
countless times and people have seen it all before but he still strides to his
place at the front, always the front, and he commands attention, wielding his
guitar and the band begin to vamp and he looks around, surveys it all, drinks in
the noise, flaring his nostrils and smelling it too.<o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 13.0pt;">Lights flash and dim, bright again and he begins to
play, stabbing and wrangling – slick, shmick, swinging dick – the sound is
precise and it cuts, slice and dice, back and forward every which way and the
rolling thunderhead gathers momentum, the big sound (effortlessly agile for its
size) breaking over all who dare stand in its way.<o:p></o:p></span></i></div>
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<span style="font-size: 13.0pt;"><span style="mso-tab-count: 5;"> </span>***<o:p></o:p></span></div>
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<b><span style="font-size: x-large;">J</span></b><span style="font-size: 13pt;">oe Bonamassa sits a little
hunched over. He’s wearing jeans and a non-descript jumper, sneakers. He’s
holding one of his many guitars, a Les Paul which he constantly strokes, leans
over it, it’s a part of his body. It’s not plugged in, but it’s easy to hear,
he runs licks whenever there’s a break in conversation, whenever I ask him a
question. Listening back to the tape, all my questions are soundtracked by the
fluid twang of his unplugged playing.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">I’ve spoken to Bonamassa,
blues guitar prodigy, a number of times before but never in the flesh. He seems
smaller when not on stage. No less confident, more talkative in fact, but
smaller, a little more fragile like being on stage is some sort of a life
force. In an hour or so, he’ll get his fill, over on the Crossroads Stage at
the sprawling Byron Bay Bluesfest. His mindset is beginning to shift, and so
despite the fact he’s keen to talk, he’s shifting and beginning to think like a
man with something to do, something important. He changes direction
mid-sentence, his eyes flicker from his guitar to my face, to the darkening
sky, to the people milling about backstage. He’s getting ready.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">At one point, he looks over
at the lagoon that encircles the artist area. He asks me if there are any
‘gators in there, which I find amusing because there are no ‘gators (or
crocodiles) this far south, and also because Graham Nash had asked me the same
question only 24 hours earlier. I tell him there definitely aren’t any, and he
looks up instead and sees a flock of bats passing low overhead in the gathering
gloom and he exclaims, and wonders where the hell he is. Then he laughs and
strokes his guitar again and we carry on.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“Oh my god, to hear my mental
conversation during a gig, Freud would have a field day,” he’s saying. I’ve
ventured that he’s somewhat of a perfectionist, something anyone who has seen
him play would have picked up on. “He’d be like, ‘Do you want to do this for a
living? Do you hate yourself that much?’ Yeah, it’s like a prize fight. You can
train for six months, you can spar with the best in the world, you can lay it
all out, and you know, when you’re backstage just about to go on, you know as
soon as the bell rings, it’s gonna be utter fucking chaos.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“How you win the day [though],
is just trust in the force, you know what I mean? It may not sound the way you
want it to sound, it may not feel the way it normally feels, but the pure
inertia and it worked yesterday, it’ll work today. It’s that kinda vibe.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Since he was 12, when he
first opened for BB King, Joe Bonamassa has been in the spotlight. In the
ensuing 27 years, he’s built for himself this perfectionist persona, and even
if it is, as he says, utter fucking chaos, it still comes across as perfection,
as being in the right place at the right time, everything seemingly exactly
where it should be, even if that’s not the case.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">He’s built for himself too, a
reputation as one of the finest interpreters of the blues form in the world.
He’s certainly not a purist, not musically, and indeed many critics cite the
whole style-over-substance argument when describing what he’s done over the
course of his 12 studio albums (along with a slew of live records,
collaborations and side-projects). But regardless of what you think of his
music, or how he plays the blues, he is certainly a perfectionist. And a very
good one, too.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Bonamassa is back in
Australia in September, only four or five months after our initial interview,
in order to properly promote his latest release, <i style="mso-bidi-font-style: normal;">Blues Of Desperation</i>, which was officially released in the US a
couple of days prior to Bluesfest. It’s an album which sees him coming back to
basics, in that after a number of years exploring other variations of the
blues, other styles inspired by the blues, he’s back to where he began, which
to pigeonhole, is pure blues/rock.<o:p></o:p></span></div>
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<a href="https://3.bp.blogspot.com/-z07ChPy1rgM/V9nkPTWwsrI/AAAAAAAACCU/J6DL0XPmm20EvX5ZoOOKo427E_MXQ4S0ACLcB/s1600/JB1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://3.bp.blogspot.com/-z07ChPy1rgM/V9nkPTWwsrI/AAAAAAAACCU/J6DL0XPmm20EvX5ZoOOKo427E_MXQ4S0ACLcB/s320/JB1.jpg" width="320" /></a></div>
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<span style="font-size: 13.0pt;">“The response to the
back-to-the-basics records, quite honestly feels better,” he muses. I ask him
if that bothers him, if he’s annoyed by the fact his more artistic endeavours
(for want of a better phrase) aren’t as lauded as his no-holds-barred, basic
blues/rock records. Although as his many fans will note, Joe Bonamassa’s
‘basics’ aren’t exactly basic.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“You know what, it tells me a
couple of things,” he says. “One, that I’m good at it, that’s probably what I’m
best at – straight ahead blues/rock, unapologetic. My fans have been nice
enough to go with me on many endeavours, many different styles, jazz/funk
records or instrumental where I’m a sideman with Beth Hart, or essentially a
sideman in a hard rock band. Ultimately, it does come down to the core, that
mid-tempo sludgy blues/rock is kinda where I find my voice, and I find my
calling. And that’s where the core fanbase really lies.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“There’s a little light and
shade thrown in, but it’s that playbook, and so I’m more than honoured. [And] anytime
anybody buys a record in 2016, I’m with you.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“I wanted to do another
all-original record like we did with <i style="mso-bidi-font-style: normal;">Different
Shades Of Blue</i> (2014),” he then says on what his MO was with this new
album. “I wrote with most of the same songwriters, except we added Tom Hambridge,
and Tom and I came up ‘Mountain Climbing’ and ‘Distant Lonesome Train’, and it
was just high energy. And that’s what I wanted to do, higher energy, you know.
It’s easy to write ballads, well it’s not easy, but it’s easy to write strim,
strum mid-tempo crap, but it’s hard to write high energy stuff that doesn’t
sound clichéd.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“So that’s what I really
wanted to focus on, a more up-tempo higher energy kind of situation.” I ask him
about the songwriting process, going back to Nashville to work with the likes
of James House, Jerry Flowers, Jeffrey Steele and Gary Nicholson which he did
on <i style="mso-bidi-font-style: normal;">Different Shades</i>… a couple of
years ago. “Co-writing is great, because you have these guys whose sole
existence is dedicated to song-craft,” he explains. “And my existence is
dedicated to knowing what style that I like to play, but not exactly
song-craft. So it takes me a little bit longer to figure out what we need and
what we don’t need in a song.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“And ultimately, it does boil
down to significantly different lyric contexts, different structure, and a
little deeper writing process, which ultimately I think helps everybody.” This
it does – the album is robust and strong, definitely up-tempo for the most
part, lyrically on-point, sonically right in Bonamassa’s wheelhouse. It’s
up-tempo blues/rock, verging on hard rock in some instances, and that’s where
the man is most comfortable. As he says, it’s where he finds his voice.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;"><span style="mso-tab-count: 5;"> </span>***<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #262626; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">This train don't stop for no one</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;"> / <span style="color: #262626;">This train got a mind
of its own</span> / <span style="color: #262626;">This train don't wait for no
one</span> / <span style="color: #262626;">This train, I'm gonna leave this town</span><o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #262626; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">This train don't show no mercy</span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;"> / <span style="color: #262626;">This train doesn't have
a name</span> / <span style="color: #262626;">This train coming down from Memphis</span>
/ <span style="color: #262626;">This train like a hurricane<o:p></o:p></span></span></i></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; text-autospace: none; text-indent: -18.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="color: #262626; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: #262626; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">‘This Train’, <i style="mso-bidi-font-style: normal;">Blues
Of Desperation</i><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">***<o:p></o:p></span></div>
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<span lang="EN-US"><b><span style="font-size: x-large;">I</span></b><span style="font-size: 13pt;">n the press that accompanies this new record
is all sorts of gumph about how Bonamassa is re-inventing blues/rock, and how
this album is an evolution for him as an artist. Yes, it’s an evolution, it’s
next level stuff, the man building on what he’s already proven he’s able to do
better than most others. As far as Bonamassa “re-inventing” blues/rock though, this
is merely publicity hot air designed to excite less adventurous members of the
working music press.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">No, this is no reinvention. What it actually is,
is the mark of a man who has the genre so down pat, it’s so ingrained within
his very being, that he’s able to take this basic structure and just wield it
so well, to swing it around his head with reckless abandon, to squeeze it and
caress it and mold it to his every whim. It’s basic blues/rock, but it’s
really, really good blues/rock.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">“You know, probably because I paid it no mind,
[it’s an evolution],” he laughs. “I’ve written songs where I go, ‘People are
gonna <i style="mso-bidi-font-style: normal;">love</i> this’, right? Crickets.
I’ve also written records where I think we’ve done a good job, I’m not sure how
people are gonna respond to it, and all of a sudden, people are… my barometer
is almost 180 degrees out from what actually occurs.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">“A big step I guess, ultimately, I think my
surrounding cast in the last three to five years, musician-wise, since I’ve
started working with them fulltime, I think my surrounding cast has forced me
to either put up, or shut up. And I think that osmosis has just seeped into my
pores. And I think, if I had to lay it on anything, it would be that, just
keeping up with the brilliance in the room, I’ve gotta get my act together. Subtly
I think, more so than before, I’ve gotten my act together.”<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-e3Ryrl7kN8I/V9nkUXIRNfI/AAAAAAAACCY/MEbjp45t8yU_DjeCzTqLl_70XizH6ECsgCLcB/s1600/JB%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-e3Ryrl7kN8I/V9nkUXIRNfI/AAAAAAAACCY/MEbjp45t8yU_DjeCzTqLl_70XizH6ECsgCLcB/s320/JB%2BCover.jpg" width="320" /></a></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">That’s where <i style="mso-bidi-font-style: normal;">Blues Of Desperation</i> is also an evolution then, Bonamassa getting
his act together, in order to keep up with the musicianship he’s now
surrounding himself with – drummer Anton Fig (and on this album, second drummer
Greg Morrow); bassist Michael Rhodes; keys player Reece Wynans; horn players
Lee Thornburg, Paulie Cerra and Mark Douthit; and Australian backing vocalists
Jade McRae, Juanita Tippins and Mahalia Barnes. All have caused Bonamassa to up
his game, and so the evolution comes through in his matching of their
musicianship.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">One might scratch their head here and wonder
how Joe Bonamassa could actually up his musicianship – anyone who’s seen or
heard him play will agree he’s a phenomenal guitarist, how could he step that
up? It’s not the playing he’s upped though, I get the impression on talking to
him, but his headspace and scope. Playing with these musicians has forced him
to take off his blinkers, set in place by a slew of records, and look further
outside the box. The results speak for themselves.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;"><span style="mso-tab-count: 5;"> </span>***<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #1a1a1a; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">I fell into a burnin' ring of fire / I went down, down, down / And the
flames went higher / And it burns, burns, burns / The ring of fire, the ring of
fire<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-left: 54.0pt; mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; text-autospace: none; text-indent: -18.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">‘Ring Of Fire’, Johnny Cash, playing through the PA prior to Bonamassa
and band walking onstage at the Byron Bay Bluesfest<o:p></o:p></span></div>
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<span lang="EN-US"><b><span style="font-size: x-large;">A</span></b><span style="font-size: 13pt;">t various points throughout our interview,
Bonamassa refers to himself as a dweeb, a traveling salesman, a curmudgeon. His
self-effacive nature is actually refreshing – you see him on stage standing
tall in a suit, very little stage banter, completely intent on the musical task
at hand, and you think perhaps he’s a bit arrogant. He’s actually not. “I’m a curmudgeon,”
he confesses with a smile. “My girlfriend tries to get me out of that, but I’m
a real curmudgeon.”<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">He takes great pleasure in telling me a story
from the day before, where a band dressed “like they’re going to a 1967 Laurel
Canyon costume party” were put in their place, to his mind, when Mick Fleetwood
(also playing the festival) entered the room. “Mick fucking Fleetwood,” he
laughs. “He was <i style="mso-bidi-font-style: normal;">there </i>(in Laurel
Canyon). He invented the hipster beard, but he’s not playing that guy, he’s
just that guy. That authenticity is not lost on me. You’ve gotta be that guy.”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">“I’m <i style="mso-bidi-font-style: normal;">this</i>
guy,” he goes on, waving a hand over his old jeans, his plain jumper. “The guy
in the suit comes out every time I have a gig, because I harken back to those
old blues guys like Muddy Waters… I’m not the first guy to put a suit on, I stole
the idea from Muddy Waters. You see those old pictures of him in the ‘60s and
he’s got this silk suit on, a bottle of Johnny Walker Black, backstage somewhere
in London and you go, ‘That’s the coolest shit in the world’.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">“And then I saw Clapton in ’89 when they used
to call him the Armani Bluesman, and I go, ‘I don’t think that’s a bad thing,
that’s awesome’. And then you see him during the day and he’s got a Fender
t-shirt on, and that’s the real cat. And it was my favourite moment of the
festival to see that go down, when Mick Fleetwood walks through the room, and
you go, ‘There’s <i style="mso-bidi-font-style: normal;">the</i> Laurel Canyon
guy’, because he actually invented it, you know? Ultimately, it’s not lost on
me.”<o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-nYlJHhub71w/V9nkYmYxmzI/AAAAAAAACCc/mhl3du8GDdAVUE4L0IdG7e0GYl--P6aeACLcB/s1600/JB2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://2.bp.blogspot.com/-nYlJHhub71w/V9nkYmYxmzI/AAAAAAAACCc/mhl3du8GDdAVUE4L0IdG7e0GYl--P6aeACLcB/s320/JB2.jpg" width="320" /></a></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">Something else which isn’t lost on the blues
guitar behemoth, is the fact he’s been so prolific since his 2000 debut, <i style="mso-bidi-font-style: normal;">A New Day Yesterday</i>. “In fifteen years,
I’ve put out 33 albums,” he says with a smile. “Between the live DVDs and all
the hoopla, three with Rock Candy Funk Party, four with Black Country Communion,
one with Mahalia, couple with Beth Hart and a DVD, all the DVDs I’ve done, it’s
been a ton of work. And we have two DVDs in the can, we have <i style="mso-bidi-font-style: normal;">Live At The Greek Theatre</i> in Los
Angeles, where we did the three Kings, and we have <i style="mso-bidi-font-style: normal;">Live At Carnegie Hall</i>. Thirty-five albums in 16 years, it’s nuts.”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">“But in perspective, this album seems to have
a bit more legs than maybe the three or four records before that,” he then says
candidly. “The last time a record of mine has gotten this kind of response is
when we did a record called <i style="mso-bidi-font-style: normal;">The Ballad Of
John Henry</i> (2009), that was kinda my coming-out party. And we’ve
experimented with different feels and flavours along the way… I’ve been to
Greece a couple of times, a bit more Americana stuff, more horns, whereas this
is more back to the basics.”<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">Blues
Of Desperation</span></i><span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;"> is basics for Joe Bonamassa. Straight down
the line blues/rock, a little bit of jazz in there, a few harder tracks that
harken to his time with supergroup Black Country Communion. It’s an album which
doesn’t apologise for this, it makes no concessions, it’s the man doing what he
does best, and what his core fanbase loves most about him. And isn’t that all
he can do? <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">He seems happy, this much isn’t in doubt. We
finish up our interview as it’s drawing closer to show time. His mindset has
very much shifted now and it’s time for him to shed his dweeby persona, his
actual persona, and don the suit and move into the persona that most people
know him for – Joe Bonamassa, guitar prodigy, blues maestro, blues/rock
purveyor par excellence. This is what he brings on this new record, and even
though he has done it countless times and we’ve seen it all before, it’s
because it’s so real, that we’ll keep coming back. <o:p></o:p></span></div>
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<span lang="EN-US"><b><i><span style="font-size: 13pt;">Check out </span><span style="font-size: 17px;">Joe</span><span style="font-size: 13pt;"> Bonamassa's website <a href="https://jbonamassa.com/">here</a></span></i></b></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;"><o:p><b><i>Check our the RHYTHMS website <a href="https://rhythms.com.au/">here</a></i></b> </o:p></span></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-52424199163812751272016-09-09T02:47:00.000+10:002016-10-27T08:42:14.337+11:00Stars & Hype - Available Now<br />
<div style="text-align: center;">
<b><span style="font-size: large;">STARS & HYPE</span></b></div>
<div style="text-align: center;">
<b>First Time Notes On The American Deep South</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: center;">
<b><span style="color: red;">THE DEBUT BOOK FROM AUSTRALIAN JOURNALIST</span><span style="color: red;"> </span><span style="color: red;">SAMUEL J. FELL</span><span style="color: red;"> RELEASED TODAY</span></b></div>
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<span style="font-size: 13pt;">$AU 20.00 (+$AU 5.00 Postage)</span></div>
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<span style="font-size: 13pt;">The title is available from Amazon in your home territory</span></div>
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<span style="font-size: 13pt;"><b>ALSO AVAILABLE ON E-READER</b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 50.0pt;">5<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;">New Orleans, Part One<o:p></o:p></b></div>
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<i style="mso-bidi-font-style: normal;">Newspapers read thus
far: <b style="mso-bidi-font-weight: normal;">The Los Angeles Times</b>, <b style="mso-bidi-font-weight: normal;">The New York Times </b>(West Coast Edition),
<b style="mso-bidi-font-weight: normal;">The Austin American-Statesman</b>, the <b style="mso-bidi-font-weight: normal;">Goliad Advance-Guard</b>, <b style="mso-bidi-font-weight: normal;">The Times-Picayune</b>.<o:p></o:p></i></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 25.0pt;">S</span></b>omeone said to me at some point prior to
this trip that the Faubourg Marigny district is a burgeoning bohemian area. A
little way east of the French Quarter in New Orleans, it’s home to artists,
hipsters and the like, small pop-up bars and artisan shops. Still gritty and
real, but only in its early stages of gentrification and so not tainted. <o:p></o:p></div>
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It doesn’t seem too gentrified at first glance though. People
of dubious character (not a hipster to be seen) ramble along the steaming reach
of St. Claude Avenue, others sprawled outside Hank’s where we go to buy beer,
leaning against the brick walls in the shade – some with flea-bitten old dogs –
drinking 40s out of brown paper bags eyeing everyone else from under
low-brimmed hats and ratty hair.<o:p></o:p></div>
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A little earlier, the cab from the airport had dropped us
off outside our temporary digs on Mandeville Street, just off St. Claude, a
long thin stretch of concrete with tiny houses packed along its sides, an auto
shop on the corner. We were met by Orly, a friend of the house’s owner, who led
us down the narrow path next to the house, let us in the back door and gave us
some tips on where to go, what to do. I asked him if the area is safe. He
thought for a bit. Essentially said just be careful.<o:p></o:p></div>
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He left us to it and we lay on the bed under the fan and
thought about what to do next, whether three in the afternoon was too early to
do anything. We decided to go and buy food and so found an organic supermarket
up the road down the back of a yoga studio, new age medical clinics off to the
side, a hip haven amongst what seems to be a wasteland. <o:p></o:p></div>
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We go from there to Hank’s then back to the house. <o:p></o:p></div>
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I sit in the tiny back garden and sip on a can of Bud and
smoke a cigarette, humid, rub my feet in the grass and wonder how this’ll all
pan out. The yard is long and narrow, patchy grass and overgrown bushes on the
side half hiding the rusty chainlink fence. There are a few small flower pots
near the back door, flowers struggling in the heat, an old strand of fairy
lights looping the rail by the steps like a translucent snake, too hot to move.
The yards on either side are concrete, the one on the right with a ramshackle
old shed, falling down, missing its door, most of its windows.<o:p></o:p></div>
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Despite the area’s seeming desolation however, we’re only a
five minute walk from the top of Frenchmen Street, which runs parallel to
Mandeville, south to the edge of the Quarter and is lined with myriad tiny
bars, music of all strains booming out onto the sidewalks, people wandering
about with plastic cups of beer smoking and laughing. Just a regular city
street in a regular city late on a Friday afternoon except the street is
exceptional and the city is N’Awlins, The Crescent City, The Big Easy, so it’s
all different and ribald and loose, a permanent party except you’re always
watching your back, no matter how far into the situation you push yourself.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Once we’ve eaten at the house, we find our way down there,
navigating along St. Claude, missing the top of Frenchmen thinking it’d be a
pulsating strip like Bourbon Street and so doubling back and stepping out of a
seeming war zone – cracked grey pavement, roadworks, jackhammers blowing
concrete dust into the thick air –<span style="mso-spacerun: yes;"> </span>onto
a leafy, tree-lined street with small, neat houses that eventually give way to
one of the most famous music strips in the world. We feel at home immediately
and see The Spotted Cat and go in and sit at the bar drinking bottles of Bud
listening to Andy Forest play harmonica and a bit of guitar.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As I listen I look about and try and feel it, this famous
venue I’ve known of for so long, the dancing cat mural on the back wall, the
myriad bills tacked up behind the bar – I see an Australian five, a ten – the
green walls and dark wood bar with the lip, so’s you have to reach across and
down a little to pick up your beer. Two girls walk out and one stops to take a
photo of Forest playing guitar on stage, but he snaps that they don’t even know
his name so don’t take no photo, just throw a dollar in the bucket.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
They slink off, a self-conscious laugh. We move off after a
drink not long after, throw a dollar into the bucket, out the door into the
fading sunshine, left and across the road, where to next? Wherever sounds good.<span style="color: red;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The night carries on in this fashion. Chance Bushmen’s
Rhythm Stompers at Bamboulas, dusty rag-time, tap-dancin’ jazz ‘n’ jive; Higher
Heights at Café Negril, all funk and groove, good for dancin’, good for
swingin’. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We head down to the bottom of Frenchmen at one point and
onto the start of Decatur which leads into the Quarter proper and find a tiny,
dark hole in the wall where we grab two seats at the end of the bar, order
beers and shots of Jack Daniels. The bartenders are switching shifts, the place
is open 24 hours, the clutch of people down the front are regulars. The
bartender getting off is shitfaced drunk. The one coming on is a jovial gay guy
who ain’t takin’ the last guy’s shit, but you can tell they’re friends. They
both joke with us and it’s a comfortable little place despite the dinge and
dark, the noise and the smell. Feels comfortable. I sit out the front for a
smoke, on a small wooden bench, and watch a few kids doing tricks on a
skateboard outside the shop next door.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We walk back to Bamboulas and sit out the front at one of
their two tables and smoke more cigarettes and drink cheap beer watching the
tide of people wander past, listening to snatches of conversation wondering
where people are from and where they’re going. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We head home reasonably early, via the night market, back up
Frenchmen and along St. Claude, slightly oblivious to the danger – is there any
danger? – past the Hi Ho Lounge which has people spilling out onto the street,
past another small bar blasting out some decent heavy metal. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After dark, the bohemian element is obvious. It’s almost
like during the day the area belongs to the downtrodden and broke, the hungry
and desperate. Once the sun goes down however, the music starts and the
temperature cools and people come out to play, a bit of money in their pocket,
op-shop boots and long, slim cigarettes.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We keep walking, around the corner onto Mandeville and to
the relative quiet of the back garden for another beer or two, more talk, where
to next, tomorrow.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="mso-tab-count: 2;"> </span><span style="mso-tab-count: 1;"> </span>***<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 25.0pt;">W</span></b>e sleep late. Eventually we rouse
ourselves and I have a shower and then sit out the back in the shade for bit.
It’s so quiet, still. The sun beats down, not a cloud in the sky and everything
is trying to soak it in, let it accentuate its colour, but it’s almost like it
can’t quite get there.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There’s a sense of gloom over this place. A sense of danger
just under the surface. A sense of desperation. Perhaps a hangover from
Katrina, a decade ago, perhaps just the normal daily feel of a poor
neighbourhood that doesn’t deign to be anything other than it is. And so it
feels gloomy, scary, somewhere we shouldn’t be. The feeling sits in the pit of
my stomach, a dull object in my gut like I need to shit but can’t. That feeling
of being out of one’s comfort zone, a long way out. I smoke more than I usually
do.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We leave the house a bit before lunchtime and head back down
Frenchmen, onto Decatur towards the French Quarter. Our surroundings gentrify
and the feeling lifts a little. Soon we’re thrust into the Quarter itself, its
own little city, twelve-odd square blocks of sin. A man drives slowly down
Toulouse Street, leaning out his window shouting verses from the bible. We see
him later down by the river, standing on a busy corner, shouting his bible
verses. Not to anyone, just to everyone. One man trying to make a difference.
Claire asks if I think he thinks he <i style="mso-bidi-font-style: normal;">is</i>
making a difference. I shrug, maybe. We don’t see him again all weekend.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We wander around the Quarter for a few hours, just looking
and watching. There’s a college football game on this evening, Florida State,
The Gators, in town to play LSU and there are fans everywhere decked out in
jerseys and t-shirts. Flags are flying, it’s a fierce rivalry but the feeling
seems good. So the place is full, it heaves despite the early hour, expectation
is in the air. We catch bits and pieces of the game later that night. Louisiana
State win by a touchdown.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
By then, we’re back on Frenchmen Street, but we spend the
day exploring the Quarter. Even at one in the afternoon, Bourbon is teeming,
college kids wandering about in packs with fishbowls and hand grenades, huge
fluoro coloured drinks of god knows what clutched in tanned hands, male and
female, some already stumbling and crooked, others well on their way. Bourbon
smells like vomit and young exuberance gone stale and wan. Piss and the
desperate remnants of last night. Stains the back of your throat. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
No one gives two shits though and the bars encourage it and
the drink flows and a normal Saturday afternoon on Bourbon Street carries on.
The sound from countless horn sections booms from open doorways and floats up
on the vague breeze enveloping the fern-laden balconies above. The music is
high-octane, designed to move your feet and fill your glass.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We sit for a while in Congo Square, somewhere a bit quieter,
over in Louis Armstrong Park. The grass is green and thick and I kick off my
boots and look through the info pack I’ve been left at the information centre
by the media people at the tourism bureau – maps, brochures, badges, a few
passes to things. We throw most of it out, but keep the bits that interest us. We
watch a few homeless guys wander past. We watch a tattooed and shirtless guy
trying to land various flips on his skateboard as his girlfriend sits in the
sun, bored. She claps when he lands something though.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We decide to head back into the Quarter and so duck back
across Nth Rampart and onto Toulouse, down towards the river. We line up
outside Café du Monde, famous for its beignets, but don’t actually get in. We
stand and listen to a small trad jazz combo – sax, clarinet, drum, fiddle and
guitar, with a self-conscious fiddler who sings but is embarrassed. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We wander the streets and generally get a feel for the
place, its old-time influence, its party prevalence, countless voices from then
and now bouncing back off old stone walls, a cacophony, buildings seemingly
growing out of each other, a mass of architecture climbing up from the narrow
streets. French doors open onto sagging balconies above our heads. Halloween
decorations festoon across front porches and around ground floor windows. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Because of the football, we find a small bar serving fifty
cent oysters which we have with Cajun calamari and some local beer for a few
bucks before heading back to the house, have a shower and sleep for a while,
smoke a cigarette in the long, overgrown yard prior to heading back out to
wherever the fancy takes us. Who knows? Not us, by no means.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We end up, after dark, in the lounge at the Hotel Monteleone
which has a revolving carousel bar. It’s fancy and we order cocktails. I try
not to get distracted by the football being shown on a dozen screens around the
room. Claire’s heard about this place, and so we come here to seek out a bit of
the opulence prevalent in parts of the Quarter and I order a sazerac because
it’d be remiss of me not to given where we are.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
From there we wander back to Frenchmen’s where we bar hop a
little before ending up at our table outside Bamboulas, drinking and watching,
listening to the BackBone Blues Band and then the Johnny Mastro Band, just
soaking it all up, finally finding our feet in a city known for knocking one
down.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I go inside for a beer at one point and come out in a bit
and Claire has been befriended by a newly married couple from somewhere in
Wisconsin who have been drinking for a few hours and so the four of us spend a
couple more hours talking and watching and swapping stories and the like and
it’s harmless enough for sure. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I switch to gin at some point before deciding bourbon is
more appropriate and perhaps I’m talking to myself at this point, but everyone
else seems to be in the same mindset and so we carry on, swapping stories,
listening and watching the constant ebb and flow of human flotsam up and down
the narrow sidewalks, cigarette butts in the puddle off the curb, the smell
from the bins across the street mixing with weed, tobacco, stale beer and sweat
in a city that doesn’t sleep, even when hungover, which one gets the impression
is most every day.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
They tell us stories of life in Wisconsin, and we ask questions
and drinks are spilt on the rickety table. I can’t remember their names.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The foot traffic swells, a band finishes at DBAs so the
pavement is full. A new one starts at a joint down the street a bit so traffic
wanes. On the road itself, cab after cab passes by slowly, dodging pedestrians
who should be dodging cars but are just rambling into the street to the place
across the road, flicking cigarette butts and yelling to friends over the way,
or up on one of the balconies above their own heads.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s a good time vibe, there’s no malice anywhere, just a
general feeling of drunken bonhomie and friendship. People bump into you and
say sorry quickly, a smile and off they go, into the night looking for God
knows what. A Norwegian (so he says) man stops and starts talking and the
Wisconsin woman rolls her eyes and lights another of her menthol cigarettes,
and this guy tries to sell us small bottles of a homemade hangover cure he says
can’t fail. We take a bottle so’s he’ll leave, throw it in Claire’s handbag.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I find it, weeks later, when we’re home and I don’t even
read the label before throwing it in the bin.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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Eventually, I call it and we wander home again and sit
outside once more and then pack our bags as we’re moving into the Quarter
tomorrow. We fall asleep a little more easily, the dull feeling in my gut not
as urgent as before.<o:p></o:p></div>
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<span style="font-size: 13pt;">$AU 20.00 (+$AU 5.00 Postage)</span></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-24043847191039194532016-08-31T05:06:00.000+10:002016-08-31T05:09:41.201+10:00Stars & Hype - First Time Notes On The American Deep South<br />
<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-6XwbrVM4s38/V8XYmbgREiI/AAAAAAAACBc/B2p5aepKKRMI9ieoLqS7LWQq8DUMBVv-gCLcB/s1600/Book%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-6XwbrVM4s38/V8XYmbgREiI/AAAAAAAACBc/B2p5aepKKRMI9ieoLqS7LWQq8DUMBVv-gCLcB/s400/Book%2BCover.jpg" width="243" /></a></div>
<div style="color: #1d2129; font-family: 'San Francisco', -apple-system, BlinkMacSystemFont, '.SFNSText-Regular', sans-serif; font-size: 14px; letter-spacing: -0.23999999463558197px; margin-bottom: 6px;">
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<span lang="EN-US" style="color: #16191f; font-size: 13.0pt; mso-ansi-language: EN-US; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Times; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;">Late last year, Claire and I spent six weeks
or so tripping through the American Deep South. It was, initially, all about
music, food and whiskey, and while all three of those elements featured
heavily, the trip ultimately became an observation of American life - it was
our first time to a place we felt we knew intimately, having grown up with the
music in particular, but it turned out to be a place about which we knew almost
nothing.<o:p></o:p></span></div>
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="color: #16191f; font-size: 13.0pt; mso-ansi-language: EN-US; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Times; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;">As such, it became about trying to discover how it all
worked, how it all came together, how the seamy underbelly meshed with the
glitz and glam, how the dust and grit and grime melded with the shiny and new
to create a place that marches to the beat of its own drum.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US" style="color: #16191f; font-size: 13.0pt; mso-ansi-language: EN-US; mso-ascii-font-family: Cambria; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Times; mso-hansi-font-family: Cambria; mso-hansi-theme-font: minor-latin;">And so I wrote about it as we went. I always do this
when we travel, but this was different - over the course of a month and a half,
I wrote around 30,000 words, which has come together to form my first book.
It's not that long obviously, kind of a non-fiction novella, but it essentially
recounts the trip, and my thoughts on a place as alien as it was
familiar. <o:p></o:p></span></div>
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by Verity Bee, basically so's I have something to look back on in 50
years. It's rough, raw, essentially un-edited, a savage journey to the heart of
the American south (to steal from a famous line).<o:p></o:p></span></div>
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<br /></div>
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available on Amazon. For Australian readers, copies will be available for order
from this page, from September 9. The title will also be available in selected
stores throughout the Byron Shire.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 16.0pt;">MEDIA RELEASE<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">SAMUEL J. FELL<o:p></o:p></span></b></div>
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<span style="font-size: 13.0pt;">A non-fiction novella, <i style="mso-bidi-font-style: normal;">Stars & Hype: First Time Notes On The
American Deep South</i>, the first book from Australian journalist Samuel J.
Fell, is set for release on <b style="mso-bidi-font-weight: normal;">FRIDAY
SEPTEMBER 9</b>.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">A rough, raw and largely
uncut account of his maiden trip through the US Deep South late last year, <i style="mso-bidi-font-style: normal;">Stars & Hype</i>… was written “on the
run, across five states and as many time zones, drunk, sober and somewhere in
between.” <o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Finding time to write and
record his thoughts on a place “as alien as it was familiar” during the six
week trip he undertook in October / November 2015, Fell recounts the experience
in vivid fashion, the dust and grit, the glitz and glam coming to life on the
page – the book is truly a wide-eyed account of a time and place that both
lived up to expectation, and fell well short.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Best known as one of
Australia’s most prolific freelance music journalists, Samuel J. Fell is a
Senior Contributor to Australian roots music bible <i style="mso-bidi-font-style: normal;">Rhythms</i>, and has contributed to a range of publications from <i style="mso-bidi-font-style: normal;">The Sydney Morning Herald</i> and <i style="mso-bidi-font-style: normal;">Rolling Stone</i>, to <i style="mso-bidi-font-style: normal;">The Saturday Paper</i>, <i style="mso-bidi-font-style: normal;">The
Guardian</i> and <i style="mso-bidi-font-style: normal;">Australian Guitar</i>.
Concurrently, he is writing a history of the Australian rock press, which this
year celebrates 50 years.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">For Media Enquiries: <a href="mailto:samueljfell@bigpond.com">samueljfell@bigpond.com</a> (0439 655
207)<o:p></o:p></span></b></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-31680385995362285992016-08-26T10:05:00.000+10:002016-08-26T10:05:19.315+10:00Record Review - Cat's EyesPublished in the <b>Shortlist</b> section of <b><span style="color: red;">The Sydney Morning Herald</span></b>, August 26<br />
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<a href="https://2.bp.blogspot.com/-8NClN0E3pv4/V7-G2577QBI/AAAAAAAACBE/uUV8YtvjJnk5w4Ci_fZvqmsqKFOnf8hJgCLcB/s1600/CE%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-8NClN0E3pv4/V7-G2577QBI/AAAAAAAACBE/uUV8YtvjJnk5w4Ci_fZvqmsqKFOnf8hJgCLcB/s320/CE%2BCover.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Cat’s Eyes<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Treasure house</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">RAF/Kobalt<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="font-size: x-large;">N</span></b><span style="font-size: 13pt;">o doubt a result of writing
the soundtrack to Peter Strickland’s 2014 film, </span><i style="font-size: 13pt;">The Duke Of Burgundy</i><span style="font-size: 13pt;">, the second collaboration between The Horrors’
Faris Badwan and songwriter Rachel Zeffira is a cinematic affair. Following on
from Cat’s Eye’s eponymous 2011 debut, </span><i style="font-size: 13pt;">Treasure
House</i><span style="font-size: 13pt;"> is lush and dark, it ebbs and flows, as expansive as it is intimate
and cosy.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 13.0pt;">Equal parts dreamy soundscape
and punk aesthetic, imbued with a poppishness that softens the edges, it’s a
record which begs repeated listens. It eases you in with the swirling title
track and <i style="mso-bidi-font-style: normal;">Drag</i>, before catching you
off guard with the more urgently delivered <i style="mso-bidi-font-style: normal;">Be
Careful Where You Park Your Car</i> and <i style="mso-bidi-font-style: normal;">Standoff</i>.
The latter are where the punk first comes in, and it’s the mark of a carefully
considered album that they don’t seem out of place.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Zeffira’s voice is exquisite,
at times as fragile as eggshell, while Badwan’s is stronger although no less
dreamy. The use of strings throughout is a fine touch, <o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">working particularly well on <i style="mso-bidi-font-style: normal;">The Missing Hour</i>, as is the mainly
electronic backing, although it does grate in some instances. Overall though,
an enjoyable sonic journey.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">3.5/5<o:p></o:p></span></b></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-17354633633991921162016-08-17T08:45:00.001+10:002016-08-17T08:45:30.551+10:00Feature - Gympie Music Muster 35Published in <b><span style="color: red;">The Big Issue</span></b>, August 12<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">BIG LITTLE FESTIVAL<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Gympie - The Music Muster That Grew And Grew</span></b></div>
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<b><span style="font-size: x-large;">T</span></b><span style="font-size: 13pt;">his year has seen the
celebratory planets align for roots music festivals, a coincidental grouping of
auspicious anniversaries that’s seen a slew of milestones hit across some of
Australia’s major events. WOMADelaide, the Woodford Folk Festival and Port
Fairy hit their twentieth, thirtieth and fortieth anniversaries respectively,
while the big daddy of them all, the National Folk Festival in Canberra,
celebrated its half century back in April.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Away from the nice round
numbers, arguably the most well known of all the country’s events, the Byron
Bay Bluesfest, played out for the twenty-seventh time. And conversely, one of
Australia’s lesser-known roots events, the Gympie Music Muster, this year pulls
on its dusty boots for the thirty-fifth time – a long way down the track from
its inaugural event, which was essentially a party in a paddock, just outside
of the town for which it’s named.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-nQECZSTHCBk/V7OW-jtW6aI/AAAAAAAACAs/yx1ycZsSYB8L-siV8zgaDfCV5aoFaqWkACLcB/s1600/Webb%2BBrothers.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="108" src="https://2.bp.blogspot.com/-nQECZSTHCBk/V7OW-jtW6aI/AAAAAAAACAs/yx1ycZsSYB8L-siV8zgaDfCV5aoFaqWkACLcB/s320/Webb%2BBrothers.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Webb Brothers</td></tr>
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<span style="font-size: 13.0pt;">The Muster has a special
place in punter’s hearts, a mecca for country music away from the glitzier,
in-town event that is the Tamworth festival. These days set in the Amamoor
Creek State Forest Park, the event first ran out at Thornside, the property of
The Webb Brothers, a well-known country trio who’d just won their second Golden
Guitar award, and with the help of the local Apex Club, decided to put on a
celebration.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“We thought we’d have a
party,” laughs Berard Webb on the maiden event, which also stood as a
celebration of 25 years in country music for the trio, as well as a celebration
of 100 years since their grandfather had founded Thornside, in 1882. “So we
approached our local club, told them we were going to have a country music
muster, told them the whole story and how we were going to invite our fans who
had been buying our records for years and years, and throw the gates open.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“So we put it in the
newspapers, on the radio, invited people to come out, bring your swags, and I
suppose you could say that it was the first time there was camping out at a
country music function. So that was the start.” And quite the start it was,
attracting around 6000 fans to the property for a weekend of raucous country
good-times.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">The Muster ran for three
years at the Webb Brother’s property before moving to its current location, and
from there has grown to the multi-staged event it is today. Over the years it’s
hosted a plethora of country talent, and has become regarded as a favourite,
among both fans and players.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“Absolutely, and it’s
testament to what a great party it is every year,” enthuses Beccy Cole, this
year a headliner, some twenty-three years after her first Muster. “They put a
lot into it. My first one was ’93, I just love it, the atmosphere is
incredible.”<o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-dMjl8l8hz60/V7OXFq8A_4I/AAAAAAAACAw/XTga-6o_Nx4DsewteyB481hVRq0RebMEACLcB/s1600/Gympie%2BLogo.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="123" src="https://2.bp.blogspot.com/-dMjl8l8hz60/V7OXFq8A_4I/AAAAAAAACAw/XTga-6o_Nx4DsewteyB481hVRq0RebMEACLcB/s400/Gympie%2BLogo.png" width="400" /></a></div>
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<span style="font-size: 13.0pt;">A party it is indeed, but a
big part of the Muster is in its want to support charities, something it’s done
since day one. “Well it was started as a fundraising event for charity [with
Apex],” notes Webb. “And it still is, it’s wonderful, and what makes me feel
really proud is that it has now raised about fifteen or sixteen million dollars
for charities. It’s been wonderful.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">This year’s charity partner
is Mates 4 Mates, a group supporting “the wounded, injured and ill current and
ex-serving Australian Defence Force personnel”, a group close to Cole’s heart
given she’s performed for the troops on a number of occasions, and is this
year’s Muster Ambassador. “Very much so, it’s a perfect year for the charity
partner to be Mates 4 Mates, because of my involvement with the military over
the past ten years,” she concurs.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“They’re a group who work
with [defence personnel] closely, they get them what they need, and it’s such a
perfectly named charity too, because of the stigma which is attached to things
like Post Traumatic Stress Disorder and thing like that – if you’ve got a mate
who’s helping out a mate, then it can ease a lot of that pain. I’m very pleased
that they’re gaining the proceeds, because we know they’re going to do some
very important things with those funds.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">In the meantime however, this
year’s 35<sup>th</sup> event is gearing up to be a big one. Running the gamut
from slick pop-country to Americana to blues (which has become a staple of the
past few years), it’s yet another Muster party waiting to happen, an event
which has carved out its own little niche, how special it is the reason it’s
still going strong, three and a half decades on from its inception.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“It’s no longer the Country
Music Muster, it’s the Gympie Music Muster, probably because they’ve added
other types of music, but it’s still going wonderfully well,” smiles Webb. “And
it gives me great pleasure to do something to help them with the latest one,
the thirty-fifth one. I never thought when we started it off in 1982, that it
would be still going thirty-five years later,” he laughs, “never entered my
mind.”<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">For more information on The Big Issue and what they support, head to their website <a href="http://www.thebigissue.org.au/">here</a></span></b></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-31740776244731744572016-08-11T09:25:00.000+10:002016-08-11T09:25:19.606+10:00Feature - Game Of DronesPublished in <b><span style="color: red;">The Saturday Paper,</span></b> August 6<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Feelin' Kinda Free</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 17px;">The fledgling sport of drone racing has pilots viewing the course through cameras mounted on their stripped-down, supercharged craft. SAMUEL J. FELL meets the US champion, in his home town of Brisbane.</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;"><o:p> </o:p></span></b><span style="font-size: 13pt;"> </span></div>
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<b><span style="font-size: x-large;">L</span></b><span style="font-size: 13pt;">ike a bat out of hell, the little
X-shaped machine, small propellers mounted at the end of each four arms, shoots
off into the distance. In a matter of seconds it’s no longer visible to the
naked eye, although you can hear it, buzzing through the trees at speeds of up
to 140 km/h. <o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">It suddenly reappears from on
high and like a demented magpie at the height of nesting season, it swoops, pulling
up at the last minute and executing a series of barrel-rolls, ripping past the
two of us standing on the wooden deck of a house on a hill in Ormeau, just
south of Brisbane. It banks sharply, a left turn, and darts back into the
bushland, again invisible.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-DhF8zhMPxzQ/V6u3DWIjG4I/AAAAAAAACAU/woTsqg-zdD4xmOvUfEtLnzPxRr8FPT39gCLcB/s1600/Nowak.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://3.bp.blogspot.com/-DhF8zhMPxzQ/V6u3DWIjG4I/AAAAAAAACAU/woTsqg-zdD4xmOvUfEtLnzPxRr8FPT39gCLcB/s400/Nowak.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chad Nowak</td></tr>
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<span style="font-size: 13.0pt;">Chad Nowak, standing beside
me, is the one controlling it. Via a set of goggles, he sees what his machine
sees courtesy of a small camera mounted on its nose, beaming its feed directly
back to him. A large silver remote controller hangs from a lanyard around his
neck, the machine operated by almost imperceptible movements of his thumbs on
the two small joysticks. He brings it back towards us, slowly now, and lands it
expertly on the wood next to my left foot, removes his goggles and grins at me.
Welcome to the weird and wonderful world of first-person-view (FPV) drone
flying.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Nowak is the current US National
Drone Racing champion, having won the inaugural event last July in California. The
Australian is the poster boy for FPV drone flying, a rapidly burgeoning aspect
of the growing drone industry, including competition racing. Having flown line-of-sight
remote-controlled vehicles and fixed-wing gliders since he was 14, the now
37-year-old is in high demand at events around the world. A year and a half
ago, he was mixing automotive lubricants in a factory. Today, he has sponsors,
fans and a reputation as one of the world’s top drone pilots.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“It’s just something so
different,” he says when I ask why drone racing has become so popular in such a
short time. “When I go flying out in the park and I’m just flying around,
people [see it and] go, ‘Oh, it’s a drone’. Their reaction would be no
different if it was a foam airplane or something like that. <o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“The moment I put the goggles
on them though, they go, ‘Wow!’ It’s the same reaction every single time. And
that’s the best way to explain it – why it’s taking off is because of that wow
factor. It’s like playing a video game, it’s like the pod racers in <i style="mso-bidi-font-style: normal;">Star Wars</i>; it’s that extra dimension
that we haven’t been able to access until now.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Eliminating the lag time
between drone-mounted cameras and the vision in the pilot’s goggles has been
the game-changing improvement. Simon Jardine, head of drone consultancy company
Aerobot, has been flying drones longer than anyone in Australia. His company
provides advice and builds and modifies custom machines for the likes of the
military and Surf Life Saving Australia. “</span><span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Right
now, technology is racing forward at such a pace, it’s hard to keep up,”
Jardine says. “We can fly further, [we can fly] behind obstacles, with zero
lag, so it’s instant: what you see is what you see.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“You have to have zero
latency,” agrees Paul Dumais, referring to potential delays in video
transmission. Dumais is an aerospace engineer currently building a new
prototype for Aerobot. “They’ve gotta be able to send a signal via a video
transmitter wirelessly on a 5.8 gigahertz frequency, to his goggles, with zero
latency. Or as little as possible. Because if you’re doing 140 kilometres an
hour, a couple of milliseconds [out] – you’re hitting something.”<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Jardine, Dumais and I are
talking in a park in Byron Bay. I’m handed the goggles and Jardine flies his
drone while I see what it sees. The speed and manoeuvrability of the stripped-back
machine is incredible; it’s easy to see how you’d come unstuck if the feedback
to the goggles was even a tiny bit out.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-eueeIqKRqDc/V6u3NWKaGSI/AAAAAAAACAY/_56cydgSgPU8h09lLDe0SPQ3jk4izjMwwCLcB/s1600/Nowack%2BDrone.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://1.bp.blogspot.com/-eueeIqKRqDc/V6u3NWKaGSI/AAAAAAAACAY/_56cydgSgPU8h09lLDe0SPQ3jk4izjMwwCLcB/s320/Nowack%2BDrone.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nowak's Drone</td></tr>
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<span style="font-size: 13.0pt;">Drone racing and freestyle
has, in the past 12 months, become big business. The inaugural event Nowak won
was a relatively small affair, but since then the profile of this fledgling
sport has grown almost as fast as the accompanying technology. In March this
year, in Dubai, the World Drone Prix offered a US$1 million prize pool. This
year’s US nationals in August have partnered with American sports cable channel
ESPN. The World Drone Racing Championships will run in Hawaii in October. With
money and interest growing rapidly, inevitably so are the politics, as </span><span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">a number of organisations jostle for control of the sport.</span><span style="font-size: 13.0pt;"><o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">“Unfortunately, [these
bodies] are all just sitting there arguing, and all the pilots want to do is
race,” Nowak says. “We’re going, would you guys stop fighting and just let us have
some fun?” <o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">As a result, Nowak and a
handful of other top pilots have begun to distance themselves from the
organised racing aspect, preferring instead freestyle flying for its own
satisfaction. “It’s kinda the same as skateboarders, they go out there and they
make those videos,” he says, grinning. “You’ve got the rebels that just wanna
make the videos and lead the lifestyle, then you’ve got the guys who wanna go
to the competitions. I’m the guy that just wants to be the rebel and lead the
lifestyle.”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">Nowak has just returned from the US where
he’s been filming episodes of <i style="mso-bidi-font-style: normal;">Rotor Riot</i>,
a YouTube-based series not unlike <i style="mso-bidi-font-style: normal;">Top
Gear</i> but with drones instead of cars. He and a handful of other pilots head
to different locations such as abandoned warehouses, woodlands and even
shooting ranges, <span style="mso-spacerun: yes;"> </span>and put their machines
through their paces. Everything is filmed and uploaded to an audience of 35,000
subscribers. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">YouTube has proven an incredibly important
medium for these drone pilots – Nowak’s channel has 17,228 subscribers; American
pilot “Mr Steele” (Steele Davis) has 26,361; and “</span><span style="font-size: 13.0pt;">Charpu” (Carlos Puertolas), the “godfather of FPV”,
has 55,28. </span><span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Helvetica;">It was the popularity of his channel that had
Nowak invited to the first drone nationals and attracted his sponsors.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;">Drones today are more and
more common, being utilised for a variety of purposes from aerial filming to
shark spotting. For a number of years, hobbyists have been flying line-of-sight
drones – that is, kept in sight of the operator, without a camera and
goggles – including some piloted via an iPad.<o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-liBm5Mzbbf0/V6u3UeRa9lI/AAAAAAAACAc/D69zrHRtCTQTyXVPoEpD5P1BijswraV3ACLcB/s1600/Drones%2BTSP.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://2.bp.blogspot.com/-liBm5Mzbbf0/V6u3UeRa9lI/AAAAAAAACAc/D69zrHRtCTQTyXVPoEpD5P1BijswraV3ACLcB/s400/Drones%2BTSP.jpg" width="300" /></a></div>
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<span style="font-size: 13.0pt;">These racing drones are
different. Their construction is stripped back to only what is necessary to maximise
speed and efficiency. The technology is dazzling. Dumais talks to me about 32-bit
boards, electronic speed controllers, and software like Baseflight, OneShot and
Cleanflight. Jardine is flying a Warpquad 6-inch on 25 volts – it weighs around
half a kilo, flies at a 55-degree forward angle, and can hit speeds of up to
140 kilometres an hour, with but a five-minute battery life. Of course, their
performance is only going to get better.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana;">"In the very near future, perhaps before
the end of the decade, the FPV experience will be hyper-realistic,” says
Dumais. “Like you’re actually flying in the drone, but on acid. It’ll be the
combination of high-end computer gaming to provide insane virtual reality
tracks, superimposed over real physical terrain." The sky is the limit –
but only physically.<o:p></o:p></span></div>
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<o:p><span style="font-size: 13pt;"> </span><span style="font-size: 17px;">Saturday</span><span style="font-size: 13pt;"> Paper Website <a href="https://www.thesaturdaypaper.com.au/2016/07/30/the-international-rise-drone-racing/14698008003533">here</a></span></o:p></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-87346735672915368312016-08-09T09:25:00.000+10:002016-08-09T09:25:16.900+10:00Record Review - Stoney JoePublished in the <b>Shortlist</b> section of <b><span style="color: red;">The Sydney Morning Herald</span></b>, August 5<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-b000dtn2wac/V6kUmp9Do7I/AAAAAAAACAE/_szxdfPb-RoCKA06_SQR-XL7-dVZSoHVwCLcB/s1600/Stoney%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-b000dtn2wac/V6kUmp9Do7I/AAAAAAAACAE/_szxdfPb-RoCKA06_SQR-XL7-dVZSoHVwCLcB/s320/Stoney%2BCover.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Stoney Joe<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Fuel For The Fire</span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Head Records<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: x-large;">S</span></b><span style="font-size: 13pt;">toney Joe’s third
long-player is an interesting beast. Essentially a collection of dark night
country (banjo, double bass, mandolin, various acoustic guitars), the band have
continued with their penchant for sparse electronica, adding to this time
honoured genre a modern bent. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 13.0pt;">This is my first encounter
with the West Australian quartet and so initially, the addition of “a vintage
1980s synthesizer”, and to a lesser extent the melodica, seemed alien and out
of place. After repeated listens however, the quiet drones and extremely
minimal beats they create add a rather beguiling extra layer to the group’s
four-part harmonies, the plunking of the banjo, the sharp shimmer of the mando.
It’s most evident on tracks like No More Roving, Broken String Theory and
instrumental opener Green Gums. The fact it’s not overdone is the reason it
doesn’t become intrusive.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 13.0pt;">Still, to my mind, Stoney Joe
are at their best when stepping back in time. The harmonies overlaying acoustic
guitar on Holy Waters are fantastic, the banjo-driven Use Your Mind and
Hammerfall are pure hoedown, all holler and hoo-ee. Rising Water is a
combination of both, one of the strongest tracks on an album which definitely
begs deeper exploration.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;"><o:p><b>3/5</b> </o:p></span></div>
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<span style="font-size: 13.0pt;"><o:p><br /></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-75283957317358537712016-08-06T17:09:00.001+10:002016-08-06T17:09:42.569+10:00Cover Feature - Bernard FanningPublished in the July / August issue of <b><span style="color: red;">Rhythms</span></b> magazine (cover feature - excerpt)<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 'Times New Roman';"><span style="font-size: large;">FROM DUSK ‘TIL DAWN</span><span style="font-size: 13pt;"><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 13.0pt;">While BERNARD FANNING’s
new album stems from a feeling of unease, it blooms as one of the songwriter’s
strongest releases. He talks to SAMUEL J. FELL<o:p></o:p></span></b></div>
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<span style="font-family: 'Times New Roman';"><b><span style="font-size: x-large;">It’s</span></b><span style="font-size: 13pt;">
a Monday afternoon. Late autumn and sunny. It’s crystal clear and the air is sharp,
cool in the shade courtesy of a light breeze but warm in the sun, brightening
the scene; makes the grass seem greener and the surrounding shrubs livelier
despite the fact there’s been no rain for a month or so.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">Bernard
Fanning sits on a day bed, leaning against the wall of his small studio, up on
a hill above Byron Bay. You can see it down below, spread along the coastline
in among the trees against the water’s edge. Out in the bay itself is Julian
Rocks. It’s so clear you can see the whitewater breaking around their base. The
lighthouse sits atop Cape Byron, slightly to the south, the sunlight glinting
off its tall, white walls, standing guard over the most easterly point in
Australia.<o:p></o:p></span></div>
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<a href="https://3.bp.blogspot.com/-m9t8_kUOvRw/V6WM5MAjDjI/AAAAAAAAB_w/BYOAcV_9vREfrmMTfA1YlZpNa-HGryoSACLcB/s1600/BF%2BCover%2BRhythms.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-m9t8_kUOvRw/V6WM5MAjDjI/AAAAAAAAB_w/BYOAcV_9vREfrmMTfA1YlZpNa-HGryoSACLcB/s320/BF%2BCover%2BRhythms.jpg" width="240" /></a><span style="font-family: "Times New Roman"; font-size: 13.0pt;">Fanning
sits taking it all in. It is, as I’d mentioned to him when I’d first arrived, a
view you’d not get sick of. He agrees and during the couple of hours we spend
sitting out here, we both periodically gaze out over it all. It’s calming.
Serene. Seems to me to be a perfect place to put together a record.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">Fanning,
in light blue jeans and black jacket, hair hanging down to his shoulders,
flipping across his face, grey stubble, pale skin, is in good spirits. He
smiles a lot and his laugh rings out across the green, sloping garden,
occasionally startling lorikeets playing in the trees hanging over the driveway
to the side. I’m always wary prior to speaking to prominent rock stars, well aware
they could be completely consumed by an inflated sense of self-importance,
nothing more than preening posers.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">But
Bernard Fanning’s not like that. Sure, he’s a prominent rock star, he fronted
one of the most iconic Australian bands of all time in Powderfinger. His solo
debut, <i style="mso-bidi-font-style: normal;">Tea & Sympathy</i>, was
incredibly successful, five-times platinum. But he’s just a guy with a wife and
kids, sitting here having a chat about music, about the state of the world,
life in general. Just shooting the breeze like any of us.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">Inside
the studio, producer Nick DiDia is tinkering. Occasionally, music drifts out
from the open door around the corner, soundtracking certain parts of our
conversation. “It’s shit, isn’t it,” Fanning says at one point as he looks out
across the Pacific. He laughs again. I do too as I follow his gaze. “Yeah,” I
say. “Terrible.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;"><span style="mso-tab-count: 5;"> </span>***<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman';"><b><span style="font-size: x-large;">Bernard</span></b><span style="font-size: 13pt;">
Fanning’s new album, his third solo effort, is </span><i style="font-size: 13pt;">Civil Dusk</i><span style="font-size: 13pt;">. It’s the first in a two-part series, the next being </span><i style="font-size: 13pt;">Brutal Dawn</i><span style="font-size: 13pt;">, slated for release sometime
next year. </span><i style="font-size: 13pt;">Civil Dusk</i><span style="font-size: 13pt;"> was written in
part in Kingscliff, a small coastal village a little further north, and partly
in Madrid, Spain, where his wife is from. It was all recorded here, aside from
the demos, in this little space on top of a hill overlooking Byron.<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“<i style="mso-bidi-font-style: normal;">Civil Dusk</i>, the term actually comes from
civil twilight, which is a photography term,” he tells me. “It’s when the sun
has gone down beneath the horizon. Scientifically, I think it’s when the sun is
six degrees below the horizon. But pretty much everything is still visible, but
not in direct light. And it looks different. So that idea, that metaphor…”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">He
trails off at the end of that sentence and switches focus to the term brutal dawn,
which we both agree is the perfect name for an album by a Norwegian death metal
band, but the sentiment is clear. <i style="mso-bidi-font-style: normal;">Civil
Dusk</i> is about things not being quite as they seem, or quite as you remember
them, and they’re about to change. Perhaps to be revealed once more, in a
different light later on, under a brutal dawn.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">I
ask him if, as a person, he’s a worrier, if he’s prone to anxiety. “Oh yeah,
totally, I’m a real worrier,” he says candidly. The reason I ask this is
because in the bio that accompanies the new record, he’s quoted as saying,
“Each day, I wake with a feeling of unease.” It’s a line which ties in with the
idea behind the record, the civil dusk preceding a brutal dawn.<o:p></o:p></span></div>
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<a href="https://2.bp.blogspot.com/-XkFQq6V8DmI/V6WNBswfykI/AAAAAAAAB_0/9dqSvBLaJdgH3nw3Hv9fuUjtTfdxGFZ4QCLcB/s1600/BF%2BInsert.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://2.bp.blogspot.com/-XkFQq6V8DmI/V6WNBswfykI/AAAAAAAAB_0/9dqSvBLaJdgH3nw3Hv9fuUjtTfdxGFZ4QCLcB/s320/BF%2BInsert.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“Yeah,
doesn’t everyone?” he asks with a laugh when I read that quote back to him. “It
sounds a little too depressing. I don’t mean… it’s unease, it’s not full-blown
anxiety. It’s more like, I’ve got shit to do, lots to do. As an artist and a
human being. Firstly as a dad, the basic stuff of making breakfast, getting
school lunches ready, you know. Making sure everyone’s got two shoes on when
they leave.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“[But]
it’s a combination of everything. When I’m writing, I don’t sleep very much. I
wake up a lot of times at night, and often with the last idea I had before I
went to bed, kinda ringing in my head. And it’s pretty annoying, and pretty
annoying for my wife. It’s hard to shake when you have an idea that you haven’t
abandoned yet, that you haven’t managed to go, ‘I’m not gonna keep going’.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“And
what I mean by that, that’s a completed song as well. It’s not like, ‘That
song’s finished’, it’s ‘I’m not working on that anymore’. Because inevitably, a
few months later, you’re gonna find holes in that idea and go, ‘Fuck, I wish
I’d done that’.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">I
venture that this is the lot of the artist, that no matter what you do, you’ll
never really be satisfied. Or at least you’ll think you’re satisfied, only to
realise a little while later that you no longer are. “Yeah, that’s exactly
right. You have this momentary satisfaction,” he says. “Anyway, the anxiety
thing, I don’t want to play that up too much… it’s more because I usually get
up first in the house, at around 4:30, and I read the paper. And that usually
starts that feeling of unease, just reading about the state of the world.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“And
that impacts a lot on the way that I write.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">Despite
this assertion, <i style="mso-bidi-font-style: normal;">Civil Dusk</i> isn’t a
record populated with songs dealing with literal world events. It’s not an
album that bemoans the state of the world, not in a direct sense anyway – Bernard
Fanning, who in the past has been very vocal about, and supportive of, a number
of pertinent social issues, isn’t setting out to preach to a world he sees as
wrong, or broken. <i style="mso-bidi-font-style: normal;">Civil Dusk</i> seems to
be more about a feeling and a state of being, as opposed to presenting like a
list of injustices, set to song.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">As
well, these feelings are framed through a series of love songs, whether happy
or sad, disguised somewhat – the meanings are visible, but not in direct light,
the songs civil dusks in themselves.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">Another
strong thematic vein that runs through the record is the idea of decisions and
their resulting consequences. “I guess that’s another symptom of age and being
forty-something,” he muses. “Looking at decisions I made when I was in my 20s
and things that I thought were a great idea at the time. I mean, I’m in the
unfortunate position… of having a lot of the things I’ve said, recorded, when I
was in my 20s and maybe not at my smartest.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">He
laughs again. “So, things like that. But also looking at that in the wider
sense, how are things like, even on a personal basis especially, Powderfinger
breaking up, how that has impacted on me and other people around me, stuff like
that.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“I
don’t really want to be drilling down into the detail of what the songs are
about, because I don’t really like doing that,” he then says, changing position
on the day bed. “I want people to have their own discovery of songs, they have
that thing where they… it’s what I do, put myself in the position of the
author, pretty much all the time, when I’m listening to music.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“If
I can really relate to it, then I can sing that song with a real kind of verve,
it resonates with me. Otherwise, it doesn’t really impact… I like people having
the opportunity to do that themselves, without it being all explained and spelt
out to them. I mean, you don’t really need to do it anyway.”<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="background: white; color: #222222; font-family: "Times New Roman"; font-size: 13.0pt; mso-fareast-font-family: "Times New Roman";">“The future's suffocating on
an echo from the past.”</span></i><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 13.0pt;"> </span></i><span style="font-family: "Times New Roman"; font-size: 13.0pt;">A line from ‘Belly Of
The Beast’, the final song on <i style="mso-bidi-font-style: normal;">Civil Dusk</i>.
One could interpret that in myriad different ways. It’s a strong line though,
one of the strongest on the album. It sums up the civil dusk, the decisions and
resulting consequence. It’s powerful.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;"><span style="mso-tab-count: 5;"> </span>***<o:p></o:p></span></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-52683354456033720242016-07-16T11:33:00.001+10:002016-07-16T11:33:51.798+10:00Record Review - SeratonesPublished in the <b>Shortlist</b> section of <b><span style="color: red;">The Sydney Morning Herald</span></b>, July 15.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Vek0KdxZSEI/V4mOtZoXOFI/AAAAAAAAB_Y/NkEIxrS9ZAMWcCgupe7C7qa604xg2Y02wCLcB/s1600/Seratones%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-Vek0KdxZSEI/V4mOtZoXOFI/AAAAAAAAB_Y/NkEIxrS9ZAMWcCgupe7C7qa604xg2Y02wCLcB/s320/Seratones%2BCover.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Seratones<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Get Gone</span><span style="font-size: 13pt;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Fat Possum Records / Inertia<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="font-size: x-large;"><br /></span></b></div>
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<b><span style="font-size: x-large;">R</span></b><span style="font-size: 13pt;">eleased on the legendary Fat
Possum label, which this year celebrates 25 years, the debut cut from Louisiana
quartet Seratones doesn’t waste time getting to the point. The punk aesthetic of
Chokin’ On Your Spit kicks off a record which brings together not only three
chord thunder but a slew of roots influence befitting a group based in the
thriving music town of Shreveport, a crossroads of sorts for blues, country and
soul sounds – Get Gone is a mish-mash, and it works extremely well.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 13.0pt;">Produced by Jimbo Mathus
(Squirrel Nut Zippers, North Mississippi Allstars, Buddy Guy), the album is for
the most part a high-octane affair, vocalist AJ Haynes’ voice a velvety beast
capable of New York grit ‘n’ spit, howls and croons, the perfect foil to the
ever-changing sounds she’s riding over. Guitar, bass and drums provide same, easily
handling the punk (Chokin’, Sun), the garage rock (Trees, Don’t Need It), seamlessly
slipping into hazy evening mode (the title track) then finishing with the slow
and dreamy Keep Me. It’s a record which covers a lot of ground with scruffy
aplomb, a new rock ‘n’ roll sound.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">4/5<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-114303230034952572016-07-14T07:32:00.001+10:002016-07-14T07:32:42.289+10:00Profile Review - Sweet JeanPublished in the July / August issue of <b><span style="color: red;">Rhythms</span></b> magazine<br />
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<a href="https://2.bp.blogspot.com/-bPv1pJsHPHU/V4ayyibygEI/AAAAAAAAB_I/fseSG4HLIrAd6RqOk6UmcvcQ036D79cHQCLcB/s1600/SJ%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://2.bp.blogspot.com/-bPv1pJsHPHU/V4ayyibygEI/AAAAAAAAB_I/fseSG4HLIrAd6RqOk6UmcvcQ036D79cHQCLcB/s400/SJ%2BCover.jpg" width="400" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 'Times New Roman';"><span style="font-size: large;">Sweet Jean<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: 'Times New Roman';"><span style="font-size: large;">Monday To Friday</span><span style="font-size: 13pt;"><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 13.0pt;">ABC Music / Universal<o:p></o:p></span></b></div>
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<span style="font-family: 'Times New Roman';"><b><span style="font-size: x-large;">S</span></b><span style="font-size: 13pt;">weet
Jean’s 2013 debut, </span><i style="font-size: 13pt;">Dear Departure</i><span style="font-size: 13pt;">,
painstakingly put together by Sime Nugent and Alice Keath, garnered the
Melbourne-based pair widespread acclaim and rightly so. The album, as I noted
in my review for </span><i style="font-size: 13pt;">Rhythms</i><span style="font-size: 13pt;"> upon its
release, “…[while] rooted in the gothic folk music the pair know so well,
transcends same, mining a rich vein of old-school pop, making it an album which
combines the two to great effect.”<o:p></o:p></span></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">I
certainly wasn’t the only one singing its praises – Paul Kelly said of the
record it was, “Dreamy, epic, wry, tender.” High praise indeed, for an
extremely good piece of work.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">And
so, just shy of three years later, Nugent and Keath follow up with <i style="mso-bidi-font-style: normal;">Monday To Friday</i>, and to say they’ve bested
anticipation would be an understatement. For this record again transcends – it
transcends expectation and the notion of the tricky second album, but more
importantly, it transcends the plane these two were initially inhabiting. <i style="mso-bidi-font-style: normal;">Monday To Friday</i> is an album which
soars, a glorious pop gem that gets warmer, darker, more lush the more you
listen, an extension to what they were able to achieve with their debut.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“Most
of the songs were written in our home studio, which informed the songwriting
and production,” says Keath on this evolution. “We had a carefully considered
approach to the production on <i style="mso-bidi-font-style: normal;">Dear
Departure</i>, drawing on specific references from trad folk to contemporary
albums. Our approach for <i style="mso-bidi-font-style: normal;">Monday To Friday</i>
was a lot more intuitive, with the songs and the sounds developing side by
side.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“We
would build a landscape and push the song and its protagonists across that
landscape, rather than write in a more linear way,” adds Nugent.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">With
the addition of John Castle who co-produces, as well as adding myriad
instrumentation (drums, bass, guitars, clarinet, keys and synth), Nugent and
Keath have found a sonic soulmate able to read their many musical moods and add
to them in a way which does nothing other than enhance. The songs are full and
real (made all the more so given, lyrically, <i style="mso-bidi-font-style: normal;">Monday To Friday</i> is about, “…</span><span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-ansi-language: EN-US;">some of the significant and insignificant things that are rolling around
us,” as opposed to the “…other people in other times and places,” they’d
written about previously), they’re their own beings, all of them brought to wondrous
life at the hands of these three artists.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“There
was a lot of fiction on our first album,” Nugent confirms, “other people’s
stories from other time and other places. We wanted to keep <i style="mso-bidi-font-style: normal;">Monday To Friday</i> in the here and now –
whether that’s pointing to the stars or trying to hail a taxi. We think it’s a
bit of both most days.”<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-ansi-language: EN-US;">For mine, the standout track on the
record is ‘Main Street’. A slow strum to open before Keath’s voice drifts in,
the initial verse slow before Castle builds the beat and the song blooms with
Keath’s refrain, <i style="mso-bidi-font-style: normal;">“I’m ready for a fight /
I’m ready for a rumble tonight.”</i> It’s truly one of the most melodic and
quietly powerful tracks you’ll hear.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-ansi-language: EN-US;">The rest of <i style="mso-bidi-font-style: normal;">Monday To Friday</i> is just as strong – ‘Slow’ begins with a solitary
guitar twang, soon enveloped by dreamy soundscape; ‘I See Stars’, all vocal
harmonies, perhaps the closest track to the American roots music both have
shown an affinity with in the past; ‘All I Know’, to close, melding electric
and acoustic guitars, Nugent’s voice simple and downturned, the song coming
together effortlessly.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-ansi-language: EN-US;">The melding of guitars is prominent
throughout the record, but none of the instrumentation steps on the vocals, instruments
in themselves. </span><span style="font-family: "Times New Roman"; font-size: 13.0pt;">“We’ve
intentionally used quite straightforward language for this album, and that
suits having the vocals front and centre in the songs,” says Keath.
“Experimenting with different ways to place the two vocals in the music was a
big part of putting together this album.”<o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-ansi-language: EN-US;">And so the instrumentation, from which
the voices grow, is there to create, to borrow from Kelly, a dreamy, epic, wry
and tender soundscape – sometimes jagged, sometimes smooth-edged, always in the
right mind, the right place, the right time. <i style="mso-bidi-font-style: normal;">Monday To Friday</i> is a stellar release, the finest in alterative
rock / pop you’re likely to find anywhere. <b style="mso-bidi-font-weight: normal;">Samuel
J. Fell</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-ansi-language: EN-US;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
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<span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-ansi-language: EN-US;"><b style="mso-bidi-font-weight: normal;">For more information, head to Sweet Jean's website <a href="http://sweetjeanmusic.com/">here</a></b></span></div>
Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-3341779398093267622016-07-13T08:15:00.000+10:002016-07-13T08:15:17.307+10:00Feature - Fat Possum RecordsPublished in the July / August issue of <b><span style="color: red;">Rhythms</span></b> magazine<br />
<b><br /></b>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: 'Times New Roman';"><span style="font-size: large;">POSSUM MAGIC</span><span style="font-size: 13pt;"><o:p></o:p></span></span></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman"; font-size: 13.0pt;">Founded in 1991, FAT
POSSUM RECORDS this year celebrates its 25<sup>th</sup> anniversary. For a
quarter century though, it’s been anything but normal, writes SAMUEL J. FELL<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: 'Times New Roman';"><b><span style="font-size: x-large;">I</span></b><span style="font-size: 13pt;">
don’t know when I first heard T-Model Ford. I remember how it made me feel though.
Like I wanted – nay, </span><i style="font-size: 13pt;">needed</i><span style="font-size: 13pt;"> – to
fight, fuck and forget all at once. Guttural and shit-stained, all piss and
bile, the music barely hung together by the skin of its teeth as it rumbled
along all fractured and fucked up, so close to slipping off the rails but
managing to cling on until the song ended with a rattle of a laugh, a guitar
twang, the out-of-time thump of a snare drum.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">I
loved it.<o:p></o:p></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-hxvHlRnpsQA/V4VqZWa8dbI/AAAAAAAAB-c/hEOWRyx1wvMrcov2Gk00funyEnWdlb19ACLcB/s1600/TModelFord.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-hxvHlRnpsQA/V4VqZWa8dbI/AAAAAAAAB-c/hEOWRyx1wvMrcov2Gk00funyEnWdlb19ACLcB/s320/TModelFord.jpg" width="308" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">T-Model Ford</td></tr>
</tbody></table>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">I
loved RL Burnside too, whether he was by himself or immersed within the punk
blues the Jon Spencer Blues Explosion trafficked in, their 1996 collaboration, <i style="mso-bidi-font-style: normal;">A Ass Pocket Of Whiskey</i>,<i style="mso-bidi-font-style: normal;"> </i>an eye-opening revelation for me. A few
years ago, I was introduced to the music of Junior Kimbrough and I loved him
too. Their music was hypnotic and droning, trance-like, thumping and riding off
a primal beat, a far cry from the acoustic folk blues players, even the
electric guys. This was something else entirely. Ragged and raw. No one seemed
to give a goddamn. It was beautiful in a way.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; font-size: 13.0pt;">All
those guys are dead now. They were outlaws – drinkers, murderers, miscreants – <span style="mso-spacerun: yes;"> </span>and it’s amazing some of them lived as long as
they did. Burnside died from a heart attack in 2005. Ford died of respiratory
failure in 2013. Kimbrough also died from a heart attack, allegedly leaving
behind 38 children. They were outlaws and it came through in their music.<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">It
was this music that also captured, firstly the ear, but then the heart of a
young man named Matthew Johnson. In 1991, in his early 20s, Johnson and fellow <i style="mso-bidi-font-style: normal;">Living Blues</i> writer Peter Redvers-Lee founded
Fat Possum Records, the now legendary indie label which championed these outlaw
bluesmen, which brought them the fame and, ultimately, money, that they
deserved. Or at least coveted.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">This
year marks 25 years since Johnson and Lee founded the label, a quarter century
of highs and lows, of bringing this blues to the people in a variety of forms
and stylistic mash-ups. It’s been anything but normal, anything but boring.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“It
was recording RL Burnside, that’s all it was,” recounts Johnson on why the pair
started Fat Possum. “I did not think it was gonna work, you know what I mean? I
would have called [the label] something better, I wouldn’t have called it the
stupid name that it got.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">He
laughs when he says this, then adds, “We wanted it to be like, rock records.
All that [old blues] stuff, people were very precious and that’s not what we
were about at all, obviously. You know, we were like, screw this. We wanted it
to be more of a rock ‘n’ roll thing.”<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">Which
is exactly what it was. Records like Burnside’s <i style="mso-bidi-font-style: normal;">A Ass Pocket Of Whiskey</i>, which was licenced to Matador, was pure
rock ‘n’ roll. A slew of the label’s other releases were hard and electric,
droning and dirty, nothing like any of the other blues stuff going around.. This
hard-driving, hard-drinking, foot-to-the-floor style of the music was all these
bluesmen knew, and so Johnson and the label tried to harness that.<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“There
was something that was missing,” Johnson explains. “There were all these
folklorists… big fat guys with a vest on, with cameras and shit, right?
Everything was like, ‘Oh, this is a legend’. I was like, these guys aren’t
gettin’ it – these [artists] are so much rowdier and more insane… fuck that, so
that’s when we started putting [these guys] with Jon Spencer, or Iggy Pop, or
The Beastie Boys or shit like that.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-sq6wOJ6LXKo/V4VqxudMaPI/AAAAAAAAB-g/45_yIqp4vcksGm0Fgwiw9VpM3_-IhBzngCLcB/s1600/RL.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-sq6wOJ6LXKo/V4VqxudMaPI/AAAAAAAAB-g/45_yIqp4vcksGm0Fgwiw9VpM3_-IhBzngCLcB/s320/RL.jpg" width="317" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“It
got a lot wackier, I’m kinda proud of all that. I’ve been taken to task about
the [purity of blues] which I thought was funny, I don’t care,” he goes on, his
enthusiasm taking hold. “You know, no one will play acoustic if there’s an
electric guitar there, for the most part, you know? The fact all those guys
were being made to play acoustic because that was tradition and shit, that’s
kinda bullshit, that’s not right. I was like, why should the kids have the
Marshall stacks, and they don’t? So that’s the first thing we got, with RL.”<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">This
is what set Fat Possum apart from the get-go. They quickly made for themselves
a reputation for not conforming in any way, shape or form, which is why they’re
so highly regarded today. The blues they were working with was different to
begin with, but they took it further - there were hip hop hybrids, punk
hybrids, rock ‘n’ roll hybrids. These artists began to cross over, picking up
fans in the unlikeliest of places. The label’s reputation grew.<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">Despite
this, they’ve never really made any money over the years (they were funded by
Epitaph in the mid ‘90s, saving them from certain death), but they’ve always
managed to keep afloat. There’ve been a few events which have also helped –
signing The Black Keys early on in their career; securing the rights to Al
Green’s back catalogue. For the most part though, it’s not been easy.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“I’m
not really sure, to be honest,” Johnson laughs when I ask why he never called
it quits, why the label is still here after 25 years. “Epitaph and The Black
Keys [saved us] as we were teetering on the edge… I hope we still have
relevance today, I mean, we’ve had to change our game. I do miss those guys a
lot. We still have some guys, like Fat White Family, to carry the torch of RL
Burnside.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">According
to Johnson, there’s nothing happening in rural Mississippi these days. Not like
back then, no one of the ilk of Burnside, Kimbrough, Ford, Fred McDowell,
Jessie Mae Hemphill, Johnny Farmer. “RL’s gone, Junior’s gone, all the stuff I
liked is gone,” he concurs. “The people who learned it and had those crappy
jobs, the real-deal guys, they’re all gone. [Today’s kids] don’t care, they’re
doing the hip hop thing, and I get it. They think it’s a white person’s thing.”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-MXJFVp0L884/V4VreF4I9TI/AAAAAAAAB-o/36wYZlDkCAwlAOGfHCW-RIqxGolluXc6QCLcB/s1600/Fat%2BPossum%2BRHYTHMS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-MXJFVp0L884/V4VreF4I9TI/AAAAAAAAB-o/36wYZlDkCAwlAOGfHCW-RIqxGolluXc6QCLcB/s400/Fat%2BPossum%2BRHYTHMS.jpg" width="257" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">He
pauses after he says this. I get the impression that despite the hardships he
would have endured dealing with these artists, (“It was basically like chaos
theory,” he laughs at one point), he misses the fucked up unpredictability of
it all, not to mention the raw power of the music itself, now only existing,
gathering dust, in the label’s vaults. It’s sad in a way. Sad that these
renegades have died out and there’s no one to replace them.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">The
label itself of course, has managed to survive, essentially by expanding their
sonic horizons. Their signing of The Black Keys is well documented, as is their
work with Iggy Pop, Solomon Bourke and Dinosaur Jr. It’s fair to say they’re
still known as a blues label, but these days Fat Possum has many different
fingers, in many different pies.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“A
lot of it was necessity,” Johnson explains on this sonic expansion over the
past decade and a half. “[And] it has to be bands that I like, that’s the only
criteria. There’s something about all of these bands, The Districts are one of
my favourites, and I love Seratones. We just had to evolve, or it would just
get kinda old, you know?”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">Now
home to the likes of the lo-fi rock of Sunflower Bean; the roots/rock hybrid
that is Seratones; the unhinged punk roots of Fat White Family; the country of
The Felice Brothers; Jon Spencer’s disjointed side-project Heavy Trash, Fat
Possum has indeed changed its focus. What hasn’t changed though, is the quality
of the acts that call the label home – sure, it’s different music, it’s not as
hectic and chaotic as it would have been in the early ‘90s, but Fat Possum is
still very much alive, still very much focused on what they see as good music.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-jGzHC5B9xMg/V4Vr1sar26I/AAAAAAAAB-0/BzmiEBfsT3YtvOazQ9fWyliQ0HaMOdkGACLcB/s1600/Fat%2BPOssum%2BLogo.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="311" src="https://3.bp.blogspot.com/-jGzHC5B9xMg/V4Vr1sar26I/AAAAAAAAB-0/BzmiEBfsT3YtvOazQ9fWyliQ0HaMOdkGACLcB/s320/Fat%2BPOssum%2BLogo.png" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">“I
hope so,” Johnson says after some thought, on whether the label has another 25
years in it. “I mean, hopefully we’re not gonna undo what we’ve managed to
accomplish so far.” He laughs again here, and then lapses into silence before
adding, “It’s gotten so damn hard… for a while things were flying off the
shelves, not hugely, but you know…”<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; font-size: 13.0pt;">The
label’s motto is ‘We’re Trying Our Best’, which says it all really. That’s what
they’ve been doing since 1991, and even as the record industry continues to
slip and slide, they’ll keep on trying their best. It’s why they’ve survived as
long as they have – an unflinching belief in the music they’re working with,
regardless of any outside influence. Just like the lurching, jangling, fucked
up outlaw bluesmen they originally championed.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman"; font-size: 13.0pt;">For more
information on Fat Possum and its roster, head to <a href="http://www.fatpossum.com/">www.fatpossum.com</a><o:p></o:p></span></i></b></div>
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Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0tag:blogger.com,1999:blog-216630447154450542.post-17475109435824260082016-07-09T15:33:00.000+10:002016-07-09T15:33:26.665+10:00Record Review - Matt MalonePublished in the <b>Shortlist</b> section of <b><span style="color: red;">The Sydney Morning Herald</span></b>, July 8.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-XzSKyXCPP1Q/V4CMTCT6AlI/AAAAAAAAB-I/yDbL12ioKsUkq_4saii83fx6jH0IB8s3wCLcB/s1600/MM%2BCover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-XzSKyXCPP1Q/V4CMTCT6AlI/AAAAAAAAB-I/yDbL12ioKsUkq_4saii83fx6jH0IB8s3wCLcB/s320/MM%2BCover.jpg" width="320" /></a></div>
<b><span style="font-size: large;">Matt Malone</span></b><br />
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<b><span style="font-size: large;">S.I.X</span></b></div>
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<b><span style="font-size: 13.0pt;">Heart Of The Rat Records<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="font-size: x-large;">A</span></b><span style="font-size: 13pt;"> “unique fusion of the
traditional and avant-garde” is how Matt Malone’s debut album is described, and
for once it’s not merely publicity hot air. Stripped and bare in the outlaw
country tradition but with the menace and slow stabbing guitar of a Rowland S
Howard special, S.I.X is all doom and gloom, sometimes whispered sometimes
bursting from Malone’s throat all spittle and bile. He’s not afraid of space,
of shimmer, of spotlighting his wavering, slightly grotesque wail.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 13.0pt;">The Beast, an eleven minute
epic, chugs along slowly courtesy of the acoustic guitar riff while electric
shimmers paint the background black as Malone intones over the top, his voice
the instrument bringing the song to its couple of climaxes. Haunting backing
vocals. The song seems to stop a couple of times in the middle but then
rebirths and carries on. Maldoror begins with the crackling of a low fire,
builds slowly, Malone’s vocal ragged as old cloth, building to an electric fuzz.
Revelation Law is perhaps the most country song on the record, but it’s
fractured and broken, somehow rebuilt into something which makes an eerie
sense. Which is an apt way to describe the entire record – dissonant, cracked, haunted.
Fantastic.<o:p></o:p></span></div>
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<span style="font-size: 13.0pt;"><b>4/5</b> </span></div>
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<span style="font-size: 13.0pt;"><br /></span></div>
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<b><span style="font-size: 13.0pt;">Samuel J. Fell<o:p></o:p></span></b></div>
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<b><span style="font-size: 13.0pt;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-nZHOVDz-UJk/V4CMZayM0lI/AAAAAAAAB-M/wVOEGsZoCHsqAco7SjYoMEzi4cylXbqxQCLcB/s1600/Matt%2BMalone%2BCD%2BSMH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://2.bp.blogspot.com/-nZHOVDz-UJk/V4CMZayM0lI/AAAAAAAAB-M/wVOEGsZoCHsqAco7SjYoMEzi4cylXbqxQCLcB/s640/Matt%2BMalone%2BCD%2BSMH.jpg" width="216" /></a></div>
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<b><span style="font-size: 13.0pt;"><br /></span></b></div>
<!--EndFragment-->Samuel J. Fellhttp://www.blogger.com/profile/17135636039080394574noreply@blogger.com0