The Junes CD Launch - 12 Golden Greats Trades Hall, Carlton June 2010

Gleny Rae -- what a singer! Ramblin' Girl (video above) takes my breath away. Last Saturday (June 12th) I went with friends to glam/country band The Junes CD launch at Bella Union Bar (Trades Hall, Carlton) Great venue -- towering columns, sandpapered walls, grand ceilings, cold, wide staircases. It seemed to suit the winter mood. I wore a heavy, black woolen jacket and still stood shivering by the bar. The layered harmonies, cajun dance, and touch of Junes glamour soon warmed my cold journalists blood however and the suspended union/protest flags and red lamplight above me were stirring. The room had a fabulous sound.

The CD launched was The Junes: 12 Golden Greats (their first full length album, recorded with Craig Pilkington at Audrey Studios) and there are several heart-breakingly beautiful songs on this album. Slow dance, Blue Baby is a favourite, as is Hopeless and Ramblin' Girl (see video above) though I think this may be on their previous recording. The jumpier numbers like Stampede in the Begerkery (complete with chicken stomps, raised shins and sudden whoops) have a raucous hillbilly energy to them and are loads of fun. As per usual, there was a lot of innuendo and onstage banter to get the crowd laughing: Gleny Rae bemoaning the plight of chickens who are armless and without opposable thumbs; Sarah Carol teasing the all male rhythm section about their matching shirts and colourful on-stage bonding ;) etc. The fiddle and accordian solos by Glenny Rae were stunning, and Suzannah's singing was haunting and full of subdued passion. The rhytmm section (Dougie Bull and Chris Tabone) were very lively yet able to pull it back for the quieter numbers and let the beautiful, complex harmonies sing out.

As part of the evening's entertainment the 100+ or so crowd were treated to Cajun dance lessons (care of Emma Bee) and it was cute watching the, perhaps, dozen couples get up to left-foot, right-foot-it round the dance floor (and, yes, slightly dishearting to see that all the willing blokes were over sixty). My fellow lady friends and I stood slumped up against the wall slurping gin like lemonade as if we were abandoned prom nerds in a country barn. Once Andy Baylor's Cajun Combo started up however (see video below) we flung our boyfriend-needy inhibitions aside and toe-tapped our way onto the dance floor, swept up by the jaunty rhythms & melodies of the expert Cajun music. With such seasoned musicians as: Andy Baylor, Rick Dempster, Sam Lemann, Andy Scott, and Lenny Ramanauskas, what can I say? Brilliant. We danced the night away.

Needless to say it was a great gig. It all ended with a crammed ride in the cabin of a ute, gear stick vibrating madly at my calves, ashtray attached unwittingly to my bag stuffed under the dash, butts all over the floor -- cigarettes, that is ;) -- and several laughing heads growing out of my shoulders (or so it would have seemed to bemused pedestrians). This inane happiness I attribute to the fabulous Junes of course and the Cajun Combo -- not just the booze!

For more information on The Junes and to buy the CD visit their myspace page here. For Andy Baylor's Cajun Combo visit his website. H

Gig Review: Big D Jamboree @The Central Club (Richmond, VIC) May 8th 2010

Saturday night was 50s rockabilly night at Richmond venue The Central Club Hotel. Featuring Melbourne's longest running rockabilly band the Straight 8s, Newcastle's Pat Capocci, Ezra Lee, Danny & The Cosmic Tremors and Echuca's Scott Baker, the night was a rockin', swinging high energy power-house of great songs, booze and dancing. Opening set was Scott Baker, a talented song-writer and performer with a rich voice in a sharp grey suit and pink shirt. He cut a fine silhouette on stage with his Elvis pose and Johnny Cash style singing. I kept thinking he would look totally at home on an old black & white TV. At times the music and strutting came off a bit stiff but the great songs made up for it. Melbourne band the Straight 8s (Victor O'Neil, vocals and rhythm; Dave Cantrell, guitar; Ray Tully, drums; and Atillo Snappy, double bass) were stunning: great musicians and entertainers, obviously old-hands at the genre and still infused with plenty of spunk. These guys perform regularly throughout Victoria as well as interstate and have been playing since the early 80s. Pat Capocci was wonderful, a whooping, shouting kind of singing style, innovative/modern guitar lines (bit of distortion) and super energy. Perhaps at times it felt like the light shuffling beats and syncopated rhythms the Straight 8s did with such panache were missing in this frenzy. The young rockabilly cats, in their 50's greased-back quiffs, folded jeans, check shirts and eye-makeup, loved them though; the dancing was frenetic. It was highly entertaining to see so many people (crowd of perhaps 150 all up) decked out in old-school rock 'n' roll outfits -- the women beautiful in tight tops and full skirts, peep-toes, fur jackets and heavy make-up, the men in suits or leather jackets and polished alligator-skin shoes. What a crowd!

Ezra Lee, more boogie woogie blues and R&B than rockabilly, was impressive and a welcome respite from the supercharged rockabilly (long sets, five bands and loud rockabilly records between) He has a killer voice (Jerry Lee Lewis style -- ladies watch out!) rolling piano lines, sexy songs, and a cool onstage presence. (See earlier post - Ezra Lee on sidebar - for the interview we did before the show.) There were times when the subtler grooves and feel inherent in blues and R&B felt hijacked by the amped-up style of the rockabilly band and the songs felt, frustratingly, like a speeding train at the end of its tracks. There were great solos from Pat Capocci however and the shotgun slap bass (Cal Robinson) and punchy drums (Ricky el Cabron) were impressive. I (unfortunately) didn't catch much of Danny and The Cosmic Tremors (1am by the time we heard them) as I had been hijacked myself for an impromptu lesson in swing dancing by an enthusiastic drunk. From what I did hear though, they were dynamic and fun and the songs were great.

Please see footage below (audio distorts -- apologies) for a taste of the bands at the Big D Jamboree gig and follow embedded links in post for access to band websites and upcoming shows. Then get decked out in your hoop skirts, rolled shirt sleeves and vests for the next Melbourne shows in June/July. Though I'd suggest you get some dancing lessons beforehand -- rockabilly audiences are pros at this stuff!

For fans of 50s rock 'n' roll visit the Australian Rock 'n' Roll Appreciation Society.
They have been around since 1974, produce the quarterly magazine Big Beat of the 50s, and have a radio show: 'shake rattle and roll' - Saturdays 8 - 9.30pm - on Melbourne's 3CR 855AM

Aintree Sweet @ The Lomond Sat May 1st 2010

I managed to get down to The Lomond last Saturday (May 1st) for the second set of contemporary country band Aintree Sweet. Comprising: Elaine Smith, Ali Huish (formerly of Merri Creak), Peter Blackburn, Sue Broderick and Susan Steiner with Jen Anderson on fiddle, Aintree Sweet delivered a set of warm-as-toast pop/country songs with pleasant, four-piece harmonies and simple, but effective, instrumentation. In addition to Elaine's textured, country-style singing and heartfelt delivery, the highlights for me were the intricate and lilting fiddle solos by Jen Anderson who lifted the energy of songs and played to the crowd with flair.

Aintree Sweet are a popular line-up on the local scene and certainly the 40+ audience were appreciative on Saturday. Please see the video below of their version of Concrete Blonde song 'Joey'. And keep your eye out in the local gig guides for upcoming gigs.

The Junes @ The Lomond - April 17th 2010

Last night, high-spirited country/glam/gospel band 'The Junes' played to a full house at The Lomond Hotel, East Brunswick. Suzannah Espie was composed and sultry in black lace, black neck-tie and cropped copper curls, her voice tonal & lilting under a steady gaze and dazzling smile; Gleny Rae Virus, a bright, fiery blond in red cowgirl boots and black tassels, stood centre stage whipping the crowd into line with a sharp tongue and wild grin, accordion and fiddle at her feet; Sarah Carroll swayed, willowy and elegant in a floral dress, guitar slung across her hips, porcelain skin, dark hair, eyes twinkling - her face an ever shifting beam of light. They kept the 100+ audience grinning bashfully from the shadows, beers forgotten in limp hands, as we stared mesmerised into the eyes of these heart-thumping sirens of song. Yes, I am certain - that the slow-dance seduction of love song 'Blue Baby' (see video above) evoked the poor sailor's fated crash into the unforgiving rocks of the sirens of the sea. Performance is myth: entertainment and archetype and connection. The Junes are brilliant at it.

Of course this makes it sound like the band consists entirely of women - and it's hard not to be swept up in the charisma of these three lady super-stars given their popular musical histories (GIT, Gleny Rae Virus & her Tamworth Playboys) - but in fact the gig would have been a different experience all together if it weren't for the incredible energy and drive (and appropriately sheepish maleness) of the dynamic rhythm section (Dougie Bull - Bullfiddle and Chris Tabone - drums and percussion).

Providing fuel for the women's onstage banter, with his dreamily painted kick-drum and straw hat, Chris Tabone 'Diego' sparked this moniker from Gleny Rae: "The Little Man in the Boat". Punctuated by: "And for the astute members of the audience you'll understand that's a euphemism" (extended laughter). After some rumbling from the crowd and the sudden murmur of a bemused sounding "clitoris?", Gleny Rae, grinning, replied: "I meant: the only drummer in bluegrass." Of course!

It is hard to beat the infectious energy, humour and glamour of these women; they are wonderful entertainers and musicians. Perhaps, at times, the band were so rocking (and loud) that the rich tones, great lyrics and harmonic subtleties were lost in the muddle - which is a shame as these women write and sing beautifully. Old GIT favourite "Car Outside the Bar" was an instant hit. So, to keep the myths alive and thriving, we must pay heed: wild things happen when women get together in kitchens to sing. Sailors beware x x

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The Junes will be launcing their latest CD at the Belly Union Bar @ Trades Hall on June 12th with Andy Baylor. For more information, to buy a CD, or listen to songs - check them out at www.myspace.com/thejunestunes

Video footage of song 'Hopeless' below (apologies for the poor sound quality - it's the digital Kmart-camera. Jess has suggested I make a cardboard box model of a 'real' camera and stick the digital one in a hole at the end so at least I can look half-professional) :) H

The Brunswick Blues Shooters Gig Review March 27th 2010

The Brunswick Blues Shooters are alive and kicking. This Saturday March 27th The Blues Shooters performed at a quiet Fitzroy pub in an afternoon of great songs, low-key dancing, beers and chat. There was an old man in a white vest doing the chicken shuffle, a long haired woman in a red maxi and librarians glasses doing the twist, her arms stuck out like a strutting bird; there were kids scrambling past my knees as I filmed, people chatting, laughing, appreciating the live music; people out to have a damn good time.

The Brunswick Blues Shooters are a Melbourne blues/country/American roots band who have been playing around the roots scene since early 2003 performing regularly at the Lomond Hotel, Barzooka Bar on Sydney Rd and their famed four-year Thursday night residency at the Italian-owned family pub The Railway Hotel – known for its great homestyle traditional pub food and authentic roots music acts. Of course this has all changed since the implementation of reformed legislation regarding liquor licensing laws (under the jurisdiction of Director Sue MacLellan) and The Blues Shooters (as well as fellow Railway acts Headbelly Buzzard and The Goodtime Medicine Band) were, as far as I know, the first in Melbourne to lose their gigs. In the process, what the government have overlooked is not only the impact on the musicians themselves – on their livelihoods and ability to find new work and reach new audiences - but the terrible impact on the communities that already support these gigs. I’m talking about the locals; the sociable old bachelor out for yarn; the young families with bright, creative kids who are already picking up instruments and joining in the local old-timey sessions; the 50s rock’n’rollers decked out in quiffs and hoop skirts who light up the dance-floor; the clusters of people looking to escape the mundane with great music and strong community. These are the people that were out at the S.L.A.M. rally to protest against the ill-conceived and irresponsible linking of violence to live music. These are the people who are still fully aware that there is much to do in the way of reversing the damage that has been – and is still being - caused. Thank goodness there are strong efforts by those affected – publicans, musos, audience members - to keep these communities alive.

In the coming weeks I hope to publish short interviews with roots musicians who have been affected by the liquor licensing laws and perhaps members of the music-going community who want their voices heard. In the meantime, here is some footage from Saturday's Brunswick Blues Shooters gig of the song ‘You Don’t Love Me Baby’ (Junior Wells) (video below). Let's see for ourselves - are these communities violent? There's Aubrey Maher in his short-brimmed 40s hat hunched over the microphone, Rick Dempster trilling out wild harp-lines in a red button up shirt and black slacks, and Melb’s renowned rhythm section: Paul Pile on double bass and Harold Frith in an ‘Honorary Cajun’ t-shirt, face crinkling into the embarrassed grin of a 10 yr old boy as his drum solo receives thunderous applause. And there is my daughter, making patterns on the table with red lemonade that has spilt from the glass with a curious two-year-old flick of the straw. And there is the famous railway blackboard and fish-tank gleaming in the pallid afternoon light. Fish don’t remember much, apparently, and perhaps they don’t know all the lyrics to ‘San Antone’ – but we do; we remember what it is to be human.

The Brunswick Blues Shooters will be playing at The Lomond Hotel on Saturday 10th April at 9pm. For more information visit http://www.myspace.com/thebrunswickbluesshooters

'The Peckin' Order' support 'Whitetop Mountaineers' @ Penny Black, Brunswick

On Thursday 18th of March Melbourne band 'The Peckin' Order' supported American duo 'Whitetop Mountaineers' as part of the 2010 Brunswick Muisc Festival. The gig was held at 'Penny Black' (formerly 'Don't Tell Tom') on Sydney Rd, Brunswick and was a sold-out event. 'The Peckin' Order' comprises Clint Dylan O'Gradey (Off the Wall), Cat Moser (Devilish Mary, The Beenies), Pete Holmes (Headbelly Buzzard) and Matt Ryan (GIT, Headbelly Buzzard). Showcasing a range of tunes from traditional old time mountain songs to folk ballads and homegrown originals, they brought to life the beautiful harmonies and intricate rhythms of traditional folk music. 'The Cuckoo', 'Banjo Pickin' Girl', and 'Little Bird of Heaven' (see video above) were personal favourites. Cat and Clint looked gorgeous; him in his open-necked black cowboy-themed shirt and her in a strapless red shift and ubiquitous cowgirl boots. Their on-stage rapport was a real joy to watch and lovely to hear. To follow their progress, hear songs or check upcoming gigs visit: http://www.myspace.com/thewelcomestrangers


Headline American act 'Whitetop Mountaineers' were absolutely stunning. The rhythms and counter-rhythms, versatility on their instruments (some of which are handmade by local craftspeople/musicians in the Appalacian mountains, West Virginia), evocative story-telling and soaring vocals had the audience enthralled. Their performance was spirited, heartfelt and flawless. Martha is also an incredible high-steppin' dancer (see video below). Her and Jackson had a bit of a Johnny Cash/June Carter banter onstage which was highly entertaining. This is their first visit to Melbourne. Go and see them at the festivals (if you can) or visit their website at: http://www.whitetopmountaineers.com/fr_index.cfm

Mick Cameron All Star Tribute Gig - Sun 14th March @ the Lomond Hotel

Sunday night was the much anticipated tribute gig for Melbourne songwriter & musician Mick Cameron who sadly and unexpectedly passed away in March of 2008. The event was a great success, one that brought Mick's famous songs out into the warm, social air of a Melbourne autumn evening and had us all beaming, emptying our glasses, tapping feet on worn carpet & singing along to the well-loved tunes. And of-course by the end, in true pub fashion, there was the deafening clamour of a hundred people clapping and wolf-whistling and yelling out for Mooore! and Tanya dancing barefoot in front of the stage, her toes painted red, her face aglow with memories of Mick. And Horse is doing push-ups on the floor (?!) and there are six people clambering over me to get to the dance floor.

The song of the evening that stole my heart was 'Very Slow Train' sung by Barb Waters, Aubrey Maher on guitar, Craig Woodward on Banjo, Jono Wilson on fiddle and Tony Hargreaves on accordian. This beck and call, duet style song was like slow sex in the morning, voices subdued, sweet and just a little gravelly. Barb Waters was stunning. There were, of-course, many more songs and line-ups that were beautiful and fun and a joy to watch. Cat Moser playing banjo in her grey cow-girl boots and pony-tail; Clint Dylan O'Grady on guitar & Peter Holmes on banjo; Andy Reid on washboard, Craig Woodward and Warren Rough, Tom Mangan and Jesse Lawrance of the Goodtime Medicine Band, Pete Fiddler, Katie Reid, Karina, Corinn and Nicola Strating, and quite possibly others who I may have forgotten (apologies). I have posted a video (not great quality I'm afraid - just a cheap digital camera record) of 'Old Car Died', eleven musicians on stage and the crowd mad with dance and singing. I loved this moment of the night and I'm so thrilled it will be available on-line.

On remembering Mick:

Mick has been a well-liked and respected figure on the roots music scene since he arrived from Adelaide in the late 1980s, performing in the Cajun Aces, Headbelly Buzzard, the Acme String Band and his own, uniquely Australian, Sandilands, a trio comprised of himself, Craig Woodward (of Headbelly Buzzard) and Tony Hargreaves of Melbourne's folk scene. Sandilands produced three records: 'Waterhole' (2003), 'Cookin' Crabs' (2005), and 'No Time to get High' (2007) all of which are still avaliable online from http://www.acrosstheborders.com.au/

Mick died a week or so after my daughter was born and we took her, two weeks old - a porcelain doll in muslin cloth, full of sleep and life, to Mick's memorial at the Railway Hotel. What a bitter-sweet offering it was- this strange irony of life - that birth can sit so innocently beside the death of a friend. Although I did not know Mick especially well, he always had a shy smile for me in that laconic and quietly intense way of his and I would always find myself beaming back at him as if he had lit me up like a lantern with his thoughts. He was attune to things, I guess; a song-writer.

I can still picture him in his dark shirt and thick black hair, hunched over his dobro on stage at the Lomond, singing these laconic, drawling melodies with a twinkle in his eye. I remember Ron in the audience, arms crossed over his chest, spectacles gleaming under the baseball cap pulled too low over his forehead, heckling Mick in that booming voice of his: 'You're a terrible singer, Mick.' Then, eyes bright, with a proud tilt to his chin: 'I'm a Taurean. We're good singers, us Taureans.' And Mick had that half-smile on his lips. And so did half the pub it seemed, but I don't know, maybe that was just the swell of twenty voices singing full-bellied along with 'Old car died, middle of the road; old car died, I couldn't get home,' faces beaming in the dim pub-light. Two years have since passed and my daughter is about to turn two; she is still porcelain skinned though she shed the muslin cloth when she ceased to be a baby, and time has moved on.

There are many of you out there who knew Mick and Mick's work and contribution to Melbourne roots music a lot better than I did (or do). Please feel welcome (and encouraged) to comment on this page and share your own stories, memories or tributes to his life and music and keep the history of Sandilands alive for the future.

Cheers,

H

Lyrics quoted from:

'Very Slow Train'

"I wish I was on a very slow train, rolling real slow across a barren plain. Rolling real slow down a mountain track; rolling real slow till I get back.

I don't want no fast train. I don't care about your manly pride. I don't want no fast train. I just want to enjoy the ride ..."

Mick Cameron

http://www.myspace.com/sandilandsband