Why You Should Go to Rockinghorse Records This Week!!!!!!!!

Today I was pretty devastated to learn that the record store of all record stores in Brisbane, is on the brink of being closed. Rockinghorse Records has been around for at least 40 years, and is where I always used to find myself whenever I went into the CBD, and still find myself there often these days. If you were ever looking for something a bit obscure, chances are Rockinghorse had it, or could order it for you, and they have always had the best range in genres that you could hope to find in Brisbane. Not only that, if you were after a concert ticket there was a good chance they had it to sell you, not to mention their band shirts, books and dvd’s (many that you wouldn’t find anywhere else). It’s been host to many instore performances, a few I’ve luckily been part of, such as the Sleepy Jackson performance and the Killers instore signing, way back when "Somebody Told Me" was the day’s biggest hit. Rockinghorse is such a good record store, that Brandon Flowers and his fellow band members were still in there browsing hours after their signing, which meant I got to go in and get a proper good photo with them and this guy I was with at the time.

I’ve sold a bunch of my wares there when funds were getting low, and found local artists such as my uncle’s outfit Company Sin there nestled amongst the mainstream. Before a meeting with a girlfriend, on a gift expedition, after uni, a conference, or a lazy lunch, you can often find me there, usually with a mocha frappacino in my hand. … flickin’ through indiiie.

So learning that record sales demise due to online sales has lead to its’ possible closure, is really really upsetting to me. I’d be really motherfucking pissed off if Rockinghorse went the way of Skinny's: Classic iconic record store (my parents have old records with the Skinny’s label still on them) full of wonder and history and unique attributes, gone forever, due to lack of interest (?). How did we get here, when there are three JB HiFi's in the same one inner city mall, and they have to close Rockinghorse?

Well it's pretty clear how, and we all know why. Why would you go into a record shop when you can get all the music you want at home without having to move your buttocks one smidge? Online music sales are now the way music is being distributed, but with the invention of things such as Dropbox, and the remaining traces of the huge free music downloading revolution such as peer to peer networks (e.g. Napster, Kazaa, Bearshare, Limewire... and still kicking on, Soulseek), free music is still a big thing. I have to admit, I am a part of that free music bandwagon, and I think Dropbox is an awesome invention. You can share an album with your friends (of your choice) within minutes, making it a great way to transfer music without having to use a blank cd or USB or anything physical.

However, nothing at all beats the feeling of taking a CD, or record (although I don't own a player to do so), off a shelf, browse it, take it to a counter, bring it home with you, put it on the stereo, listen intently as you stare at the album art, flick through the booklet, read through the lyrics, and put it in your collection, alphabetically, chronologically, autobiographically, however you choose. Nothing in the world can beat that. If I've found something I really like through Dropbox, or any other means, I tend to buy it at some point. I also buy CD's more than I buy clothes, jewelry, some weeks even more than food. It's one of the things I love to do most in the world.

I realized the other day that my children will never come across, nor need to know, what a video is. So I understand, with great bewilderment, that times are changing, and always will be. New mediums will come and be old within years, waiting for the next one to come along to overtake it. And Ipods etc. are great for storing music and taking it with you for long trips, gym sessions and soundtracks to all sorts of situations.

But I think we can all agree that if you're a music lover, you're also a lover of the medium. You love that tactile sensation of putting that needle on the record player, that unique sound of the loop beginning on the vinyl, having that record sleeve in your hand. You love browsing through a shop to find something that will enlighten your senses, and not knowing what to expect by the cover until you load it up in your cd player. You take pride in having a cd/vinyl library of your own at home, to browse through while deciding what to put on that evening, and to display proudly to others what you've spent thousands of dollars and hundreds of hours on to collect.

If our independent record stores disappear, our enjoyment of this medium is also threatened to disappear, in the not so distant future. As the empire of JB Hifi evolves (unless it goes down Borders-style), and threatens to overtake the country, it is up to us to keep the unique and personal stores, that cater more to our local musicians and lifestyle, alive. I'm making a personal choice from now on not to shop at JB HiFi, and I intend to go goddamn CD shopping apeshit crazy at Rockinghorse this week. They're having a 50% off sale, which is more of an excuse to do this, but it's sad that they're losing out on money they perhaps could have kept, had they just simply got the word out that they may be closing. From what facebook suggests, there is a huge community of people who care, and don't want Rockinghorse to go, and that's a great sign of hope. If you're in Brisbane, be one of them too! If you're not in Brisbane, go to your own local independent record store, and do what you can to prevent them from going down the same track. You'll definitely miss them when they're gone.

The inevitable blog post: What's your favourite Australian album?

If you're a listener, you'll notice that radio station Triple j have decided to mix things up this year and do a Hottest 100 Australian albums of all time countdown. I love making lists, I love albums, and fair chunk of the music I love is by Australian artists, so upon hearing this my brain immediately went into excited list making mode. I find it way too hard to keep to myself so I thought I'd share with you those albums that have stuck with me, and would be so chuffed if you could do the same. Also my page looks nicer with a bit of comment action. There are soooo many good ones so this is going to be hard. Oh the difficulty of making a top 10! Oh woe!! Oh my first world problems! F my L!

 1. Avalanches- Since I Left You (2001)

This one is an absolute no brainer, and I'm willing to bet my overseas savings that it will get the number one spot in triple j's countdown (provided the bogans stay away). This one is in every top whatever list, it's not just my no 1 Aussie album but my all time favorite. Every listen is a new experience. Every moment has layer upon layer of complexity and is unique in every way from anything any Australian or international artist has done. I've no information on this but I wouldn't be the first to suggest that this album inspired most of the indie- electronic- dance outfits that are making waves today. It's the definition of a classic, and you don't have to have a preference to any sort of genre it touches on to love it. I'll shut up now because I've ranted enough about it on another entry, but if these rants haven't convinced you to listen to it (if you haven't already), then you're just being stubborn, ya stubborn fool.

 2. Regurgitator- Unit (1997)

With the success of Tu Plang still fresh in their minds, when Unit came out, the various musical industry institutions had a field day. I was loving it, and in my 12 year old head, had decided that the best thing to ever exist and that ever would exist was Regurgitator, and that Quan Yeomans was of course going to marry me when I also became a rock star. While I was not old enough to actually purchase this album, having an R rated sticker firmly over the simple yet award winning cover, I did get a friend to tape my favourites off it (I don’t know WHY I didn’t just ask for the whole thing, kids those days), and I pretty much wrecked the tape with listens. The electrofizz slap in the face of songs such as "Black Bugs", "I Like Your Old Stuff Better Than Your New Stuff", the Prince-y "!*", and their biggest hit, "Polyester Girl" harking back to synthical 80’s times, fit oddly perfectly amongst pure raw punkrock bliss of "World Of Sleaze", "Modern Life", and combines both in "Everyday Formula". 
There’s plenty of cheek with "I Will Like Your Asshole" and "I Piss Alone" (reminding us that they are, still, the 'Gurge), and then it all just comes together in a magnificent, opulent symphony called "Just Another Beautiful Story". Who knew a band who wrote about s-ing d’s and fortune cookies could touch on existentialism and philosophy in such a beautiful way while still retaining their characteristic style? The joke was on them though;while I loved '…Art', from 'Eduardo and Rodriguez Wage War on T-Wrecks' onwards, they lost their direction and freshness somewhat, and I sing along to the title track of this album with full awareness of it's irony.


 
 
3. Augie March - Sunset Studies (2000)


Augie March is a great example of an exceptional band gone wrong. It's not that they're particularly terrible now, but the level of excellence their later catalogue exudes is a pittance compared to the mind-blowing brilliance of their debut album. It's experimental, avant garde, delicate, shoegazey, folksy, pop, and all interesting and unique at every step of the album's journey. Glenn Richard's vocals are (as they remain), magnificent and eclectic, keeping it delicate where appropriate and then belting out powerful strong where necessary. His complex vocals fit perfectly his even more complex and intricate lyrics, and one of Augie March's continuing strengths is their poetry, despite their decline from (practically) perfection. There are stories of melancholy, hope, reflection, and regret, all with a very poetically Australian undercurrent, and like the vocals, the music reflects the intricacy of the verses.
 
It's an album with so much staying power; each listen reveals a new thought, element, layer of emotion. After a plethora of storytelling and emotional releases, my favourite moment is its final explosion of crescendos and
 descents in "Owen's Lament".
Glenn even admits himself that the band's first two albums (second being 'Strange Bird') are much better than their last two, so I don't feel bad for suggesting that something went wrong in their progression as an evolving central Australian act. Things got more commercial, simple, and much, much less interesting or sensually pleasing, with 'Moo You Bloody Choir' and 'Watch Me Disappear'. I was glad that they gained the commercial and critical recognition they deserved by taking out the number 1 spot of 2006's Triple J Hottest 100 with "One Crowded Hour", but oh boy they can write better songs than that. Or can they? Maybe the excellence of the first album just cannot be followed up as there is nowhere to go BUT down.


 4. Jebediah- Of Someday Shambles (1999)
I was in grade 9, and my friend and I would repeatedly listen to this album (along with Bodyjar's 'How it Works') recorded dodgily on cassette in appalling quality. But every time we put it on it and heard the opening chords of "Did you Really" it was the same level of excitement we'd always get. Each song is pop perfection, and as we tried in vain to decipher the lyrics, we discovered them to be clever, raw, and real, although we had a bit of growing up to do before we could relate to some of the themes. This album is a genuine, sweet sign of the band maturing, and if you ask me, the band at their peak, striking gold with "Animal" and "Feet Touch the Ground". There are still songs that maintain those alt-punk stylings, such as "Slot Car Racing" and "Trapdoor", but also beautiful songs of love and emotion, e.g. "Love at Last", and "Skin". My favourite part is the closer (this is becoming a trend), "Run of the Company" which gets a little complex and out of the box, even combining brass and strings to create the ultimate climax. This song alone suggested to me that Jebediah were more than a simple alternative rock band,
and predicted frontman Kevin Mitchell's later move into lyrical folk pop. Years later I'm still excited to hear this
 album and it is still solid and emotive. It's great that after his folk foray with Bob Evans, Kevin has brought the gang together to play that rocking gritty style they still excel at.

5. You Am I - Hourly Daily (1996)
Where Unit was Rergurgitator's tribute to 80's electropunk, Hourly Daily was You Am I’s tribute to 60’s pop and Beatles-eque sound. This album came out around the same time as Regurgitator's Tu Plang, and both albums dominated the Aria awards at the time, and I remember cheering You Am I on the whole time (not yet understanding the greatness of The Gurge). I became enamoured by the singles on this album, but only bought the actual album over a decade later, because I was a weird child, with no money. It is a classic along with Hi Fi Way, another standout You Am I album, but this one resonates with me the most as it signifies the time I absolutely fell in love with You Am I. Even then, I could tell the lyrics were something very special and intricate, and they still stand up today... I love the poignancy of songs such as the title track, Heavy Comfort, and Tuesday (but what was he doing in the bathtub!!), and cutesiness of Soldiers, Mr Milk, and Good Morning, three of their best released singles of their catalogue. Not to mention the way-too-fucking-cutesiness of the hidden track Forget It Sister. In my opinion, this album is one of Australia's best live and recorded artists at their sweetest. Strangely however, I didn't want to marry Tim Rogers then, despite his offer of custard trays and dinner at the pier. I think it may have been the chin scruff. 
 

6. Spiderbait - Grand Slam (1999)
Spiderbait was another great Australian band that followed in similar footsteps to Regurgitator... from very pop/punk beginnings, they struck mainstream appeal with electropop songs such as "Calypso" and "Glockenpop". The bands' similarities didn't end with the music- Janet Weiss of Spiderbait ended up shacking up with Quan (biatch!) resulting in the sugary pop punk collaboration album Happyland (good, but not a contender unfortunately). Grand Slam seemed to be influenced quite a bit by this direction, as it was a wonderfully effective combination of raw punk rock directed mostly by singer/drummer Kram (see "Cracker", the brilliant "Shazam!" and "King of the Northern"), and happy go lucky electropop and fuzz rock directed mostly by Janet ("Glockenpop", the Jackson 5 homage "Stevie", and "Dinnertime"). Amidst the volume of these styles, there are moments that venture off the usual path, such as the acoustic melody of "By the Time I Get To Howlong" and rather late 80's (almost Go-Betweens-esque??) style of "Jellybean Drifter". The album in its entirety is quite an eclectic collection, which flows surprisingly well. As a young teenager I enjoyed every moment of the album, every change of pace, even the instrumental "Tallygaroopna", and when rediscovering it recently I found it had not lost any of its spark and pleasantries. Unfortunately, while still a great band, in following suit to the 'Gurge, the 'Bait's later catalogue lost the creativity of their earlier work, and unfortunately their good stuff has become completely overshadowed by their "Black Betty" cover. 

7. Gerling- When Young Terrorists Chase the Sun (2001)
Another album I've already mentioned in this blog! Soooo original. Anywho, I'm sure that Gerling's first album, Children of Telepathic Experiences, will make many people's best of list, but this one is my personal favourite, and the first Gerling thing I decided to purchase. This album has some of Gerling's most commercial moments; "Dust Me Selecta", which is so commercial I wasn't even sure it was Gerling; Kylie Minogue lending her vocals to "G House Project"; "High Jackers Manual" being sold to channel 10 for one of their stupid blue dot commercials. So far I'm not selling it.. but the difference between something else going commercial and Gerling going commercial, is that Gerling is still releasing really good music. They are all top tunes that managed to give Gerling a leg up and helped them trade in their backpacks for briefcases (although I kinda missed the backpacks). And there really is no dull moment on this album; it's all so much light hearted, brilliant fun, which totally transferred on stage, during that period when I saw them about 3 times in 12 months. And as previously mentioned, their most obscure moment is kind of their best, during "Windmills" and "Birdbaths", which I heard was originally written for Björk to sing. Unfortunately they were just not commercial enough for that one.
   
8. Cut Copy- Bright Like Neon Love (2004)
Cut Copy are now MEGA popular as one of Australia's most loved dance music slash Joy Division tribute bands. I've had an odd time of tracking their journey, as they appeared to morph into a 'lets do the same song but call it a different name' type of deal with 2008's 'In Ghost Colours', then got back on the creative bandwagon with their latest 'Zonoscope', while still very much imitating the 70's and 80's new wave and disco stylings they are known for. Their 2004 debut however, pulls no punches, and at the time of first listen, it was quite a refreshing jaunt into electronic dance. As a whole it's an upbeat, danceable mix of catchy tracks which flow on from beginning to end without the energy fading an inch. Unlike their later albums, most of the songs don't follow a verse-chorus-verse lyrical pattern, leaving the emphasis very much on the music. There are moments of pure infectious electropop such as the "Saturdays", "Future" and "Time Stands Still", at other times a fusion of guitar driven rock with driving dance beats, e.g. "The Twilight" and "Bright Neon Payphone". It's my favourite of theirs, and a favourite dance album, especially suitable while getting ready for a night out (typically to a place that will not be playing anything like Cut Copy on the dancefloor) :(.   *cue noise that signifies the end of a cassette tape*


9. Sarah Blasko- What the Sea Wants, the Sea Will Have (2006)
When Sarah Blasko put out her critically acclaimed debut 'The Overture and the Underscore' in 2004, I took notice but hadn't decided how I felt about her at the time. She had a lovely strong voice accompanying effective pop songs with lyrical quality, but I wasn't in love with them. Then she released 'What the Sea Wants...' and I fell hard in love with it. There was something much darker and haunting about the tunes, her airy vocals, and the subject matter, which really grabbed me, and it all came together for me. The album is an immaculately produced sonic journey utilizing synth, at times eerie piano (especially in mega hit "{Explain}"), haunting harmonies, and attractive guitar licks, and going that one step further than her debut album, to deliver something much more personal, conceptual and creative. From the opening track "For You", which fittingly accompanied me across the sea on my own journey to find love, through the environmental undertones of "The Garden's End" and "{Explain}", to Sarah's own gospel, "Showstopper", nothing is amiss or out of place, and brings out the best in Sarah's uniquely gorgeous voice. Sarah is second perhaps only to indie pop queen Sia, in the fight to be Australia's Björk. That is, the fight that is going on in my head anyway. It's pretty entertaining.

10. Nick Cave & The Bad Seeds - The Boatman's Call (1997)

Ahh finally! Someone my parents listened to is in my list. I was feeling a bit young about my choices but Nick Cave and his Bad Seeds scrape through, a classic Australian icon. I grew up around his music somewhat, but it was one of his least heavy albums that really got to me. Someone I knew once described "The Boatman's Call" as Nick's "Sea Change", which I thought was a bit rude considering it was released way before Beck's album was. Nevertheless, it could definitely be seen as a significant departure from Nick's earlier work, as most of the album is a work of slow-paced, lush, beautiful piano and string works, detailing stories of love, lament, hope and loss, in Nick's typically exquisite poetry. It's the type of album that goes achingly well after a break up, a night of drinking, a lonely Sunday afternoon, or a boring train ride to work. What better to sing/cry along to than "People Ain't No Good" during moments of trying frustration (e.g. at work), "Where Do We Go Now But Nowhere" during times of relationship turmoil, and "Far From Me" during moments of unbearable, unwanted separation between yourself and a loved one. There are some beautiful love songs too, of course being the opener "Into My Arms", and the hopefully confused "(Are You) The One That I've Been Waiting For". It's worth being in the right mood for it, but when you are, it's amazing.

............

Because I've surely not waffled on enough- here's a top 10-20, because I would really like to tip my hat off to those australian albums that I love dearly but didn't make it into my top 10 list.

In no particular order:

Alex Lloyd - Black the Sun. Oh BOY was I obsessed with this one. Oh BOY did he go downhill after this one.

The Vines- Highly Evolved. Beatlesy rock bliss.

Sleepy Jackson - Lovers. Luke Steele is basically a genius.

The Loved Ones - Magic Box. YAY SOMETHING ELSE OLDISH. Classic 60s.

Sia - Some People Have Real Problems. COMPETING FOR AUSTRALIA'S ANSWER TO BJÖRK??

Custard - We Have the Technology. Dave McCormack is also a genius.

The Whitlams- Eternal Nightcap. Has kind of dated a little too much to be in my top 10, sorry Tim (I'm sure he's upset).

Friendly - Akimbo. Yeah that's right, that DJ that disappeared forever. It was damn ridiculous stuff and I f**king loved it.

Machine Gun Fellatio- Bring It On. Just too rude for a respectable girl to have in her top 10.

Gotye - Like Drawing Blood. Perfect except for the cheese at the end.

Looking over at this list, it is very 90's- 00's. Which is awfully sad. This is because while I have great love for The Go-Betweens, Paul Kelly, The Easybeats, The Church, The Saints, Hoodoo Gurus and other 60's-80's Australian bands, I don't actually own any of their albums! Loads of singles/ best of's, and none of their seminal works. I am a terrible music fan for this, and thus am now inspired to collect these pronto. Watch out West End Club record fair, I'm coming at you next time, early, with a wad of cash.

The Dandy Warhols, The Tivoli, Tuesday 31st May 2011

Happy first day of winter everybody! I am celebrating it with a cough and sore throat and day in bed. Hooray. :(

Before that however I celebrated by seeing the Dandy's live for the first time in my life. This fact is quite silly as they have had many tours and I have had many chances to see them, who I have always had a great love for. Better late than never. And being my first time, my expectations were pretty high along with my excitement level. It was also my first valley gig since moving there and I was keen to take advantage (actually being able to walk home in less than 10 minutes, what!).

What followed was a gig that totally exceeded my expectations beyond belief, which is a hard feat. My group and I got caught up with food and drink and hence missed the support act, Los Huevos, which I was a little looking forward to checking out, but being a Brisbane band I'm sure I'll have the chance to see them again. Before long, the main act arrived; Courtney Taylor-Taylor, still very doable even with his hair in a bun, Zia McCabe, similarly doable enhanced by her rock chick long hair, epicly teased-haired Brent de Boer on a low to the ground drum kit, and shy on the sidelines guitarist Peter Holmström. They began with a long wall of sound which then became "Be-In". from 'Come Down'. Having 'Be-In' as an opener was literally the best thing they could have done (to me imo) and I was thrilled. It is such a perfect opening for that album and one of my favourites of theirs. I expected the crowd to be just as thrilled but I felt a little dorky jigging around and fist pumping while the rest around me just stood and watched. It's not a big

thing but it is really awkward getting into a song when no one else is... it's so much more fun when others are (safely and not rudely!) going mad for it with you. GUYS, AREN'T YOU AS EXCITED AS ME! IT'S THE DANDY'S! Oh that's right you've all probably seen them three times already. Sigh.

On the topic of going mad for it I cannot avoid talking about the middle aged lady who was in front of me the whole gig. First she introduced her weird thing by thinking that my (well it was oversized, I had come straight from work), handbag was a dog. Ummmmm. Then for the rest of the gig anyone that came within any sort of proximity to her was moved aside, by her. When the crowd DID get into it, and others' space were being invaded (NOT hers), she made it her business to butt in and have her say, to the point of harshly pushing someone right through the crowd, which was more damage than he was doing at the time (and again, NOT TO HER).

It was pretty brutal and distracting and further reinforces my view (which I am often reminded of while accompanying my parents to gigs) that if you have big issues with having yours or others' space invaded at shows/festivals, then there are probably better places for you to stand. And the Tivoli has a perfectly good balcony where she would have enjoyed herself more. There aren't so much 'rules' at gigs as expectations, and while people pushing through is annoying, of course, to most people, there is really nothing you can do about it, as in a General Admission gig, no piece of space is rightfully anyones. All personal space boundary rules are totally broken in mosh pits, and they always will be. And there is always that annoying drunk idiot who dances around completely unaware of other people in their wake. It happens, we get annoyed (as do I), but it's to be expected, and if it's not for you, there are better places to view the show.

Speaking of the show, back to it. The set was absolutely epic. They played a huge stack from 'Come Down' and '13 Tales from Urban Bohemia' and won the crowd with their hits from 'Welcome to the Monkey House' (namely "You Were the Last High" and "We Used to be Friends"). The earlier two albums I completely adore so I was ecstatic to hear so much from them. It's fantastic when a band picks a setlist that seems to echo completely your personal favourites, and it sounds wanky, but it was as if the band went into my brain and picked out the songs I had really been enjoying and decided there was a good selection there and went with it. And with that, played the songs extremely well, with full passion, power and harmony.

There were a few new songs there which sounded really good and appeared to hark back to their rawer earlier sound, moreso than the synth driven songs of their later offerings. Courtney decided to break up the momentum a little by leading the audience into a softer, slower acoustic version of "Everyday Should Be A Holiday", which worked really well even though it would have been just as fun to rock out to with the full band. Where horns were present in songs such as "Godless", the band sang 'ba-ba-ba's' to make up for it, and with the audience going along as well, it didn't feel like anything was missing.

The last of the set was a real highlight, with "Pete International Airport" blissing me out until it lead into "Boys Better" which was a super crowd pleaser and topped off the musical euphoria. As a 'final' song they went with "Country Leaver", which was an odd but cute choice that in the end I was glad for, as it is the type of song to put a cheeky smile on your face and leave me with a sweet memory to take home with.

Courtney's cheeky smile

It had been such a long set, at least over an hour and 45 minutes, so I wasn't expecting an encore. But soon after exiting, the band returned for "the only encore of the Australian tour", although I may need confirmation from other concert goers... If it was true, we were the lucky ones treated to a cover of "Hell's Bells" by AC/DC. I am by no means a fan of AC/DC but they did an excellent take of it, and I enjoyed a final helping of their sound before heading home.

I couldn't really speak about it afterwards as it was so much to take in. A culmination of years of Dandy fandom all in an epic 2 hour explosion of music, left me a bit speechless. God knows what I'm going to be like if I ever see something like Radiohead. I'll probably have an aneurysm.

Nine unzipped bananas out of ten, and a serious contender for gig of the year.... but we'll see about that, there's Pulp and Elbow to yet see.........

.... and i also got tickets to Steely Dan. Bet you can't wait for that post.

(some of the) Caxton Wine and Seafood Festival, Caxton St, 1st May, 2011

So this site is back to normal now it seems, without wanting to recover any of my lost stuff, so here goes again. I promise reviews will be more regular (well as I see shows!)

Thought I would check out the Caxton festival on the first sunny weekend of May, with my parents... again, why can I not find people my own age to see bands with? Oh well, the more you hang out with your parents at events the more drinks they buy you without realising...

I hadn't been feeling the best that day, and I am afraid it overshadowed the experience somewhat, and being a seafood festival I felt a little uncertain about it... not wanting to disrupt my recent foray into vegetarianism (too much). Nonetheless I was there to see the bands, and while there was a stack of artists there, there was one in particularly I was really keen for, which was Hugh Cornwell from the Stranglers. For $25 dollars entry, that was a bargain for me. Not too mention the other quite seminal Australian acts on offer.

As we wandered around the area looking for some food, wine and a place to sit, we were treated with some house music before the first set: Beck's "Odelay". I know this information is irrelevant, but this immensely pleased me as it is an excellent sunny day soundtrack.

The first act that we saw was the Radiators, and while we sat for most of it, the music washed over the crowd indulging in seafood, wine, beer and sunshine. From a distance they looked pretty decent for their age and the music was quite good. Not really having known much of the Radiators, I wasn't sure what sort of stuff they had brought to the Australian music industry, but I was pleased to recognise a few songs. So it was a nicely educational and enjoyable experience.

Sitting in the hot sun drinking wine and eating food my body hadn't been used to in a while, was not a good mix for someone who had not been feeling well in the first place, so as we walked over to check out Gangajang, I quickly started feeling pretty faint. This was disappointing, not just because I was feeling my worst when they played their iconic "Sounds of Then", or as Dad would describe it "Down by the Patio We Sit". Kids of young and old were dancing along to it, after looking pretty stoic during their previously played songs, which were well played and while a little dated-sounding, nice tunes. I think. I was kinda seeing stars at this point.

As much as "Sounds of Then" has been flogged over the years not least because of ad campaigns milking the lyrics for all its worth; it really is a great song that does capture what Australia is all about, even now.

A couple of bottled waters later, I was feeling a bit better and stumbled over to see Hugh. He announced himself very subtly, "Hello. My name is Hugh. I used to play in a band called the Stranglers, you might have heard of them". A sweet humbling introduction. I'd seen the Stranglers play the Tivoli many years ago at one of my first ever gigs, with Paul Roberts fronting, who had long ago replaced Hugh once he had decided to leave the band. That was a great show, but it was fantastic to see the original frontman in action, and you could see on his face and in his voice the huge relationship he had with this music and lyrics.

See, you can see it on his face.

Hugh and band opened with "Nice and Sleazy", and immediately my ill feeling left me, as I got into the music with the rest of the crowd. It was fantastic to bop around with the old dudes who had come to hear the classic songs they loved so long ago. He played a great selection of the Stranglers' best material, "Peaches", "Duchess", "Golden Brown". Golden Brown was quite amazing, sounding a little different without an organ but still having the same vibe as the original tune. (My dad thinks otherwise). His voice was clear and it was lovely to hear the original voice of the Stranglers live, and the songs sounded just as good as on record. Even though it was a festival gig, he managed to do an encore as he had finished a little earlier. After a bit of to-ing and fro-ing, he came to the audience and told us "I think we'll do an extended version of "Walk On By"", which was a nasty tease. He did instead, a great version of "Get A Grip (On Yourself)" which was just as satisfying.

Whenever I see gigs like these, I again, as I've said many times before, feel like I really was born in the wrong era. It's still great to see the passion and creativity still persisting many years after the creation of the true 'punk' revolution. The songs still resonate, but to a different audience. You could tell Hugh was proud of the songs he was singing and enjoying every minute of it.

Due to a topsy turvy day, I decided to leave after Hugh Cornwell, missing out on the huge amount of other artists that were performing that day. Unfortunate, but I still got more than my monies worth. And no more sunshine wine on a icky stomach, or seafood for me. Blerg.

7.5 overpriced wines out of 10. Would have been more had I been fit to drink more overpriced wine.

Bob Dylan, Elvis Costello, Rockwiz et al, Byron Bay Bluesfest, Monday 25th April, 2011

Here I was, yet another concert experience with my parents. This one was a little different; being a festival experience. How was I going to handle the idiosyncracies of my family at a festival? How were they going to handle the idiosyncracies of a festival?? We were there also to celebrate my uncle's 50th, so what better way than with a historical musical assortment?

We began by checking out the RockWiz show, my mum's favourite thing in the whole world, which of course my siblings refer to with disgust (luckily, absent) because as if you could enjoy something your mum likes?? I tried to get said mum to compete as a contestant, as Brian Nankervis was finishing up recruiting as we got to the stage, but to no avail. Half of me wished I had the guts to put my hand up, but the other half knows that my reaction time plus limited knowledge of anything I'm not a fan of, would make me look a right fool. So on with the show, and Nankervis entertainingly got the 18 selected people up for a few rounds of the game, so that the 4 best could be determined for the show. This was a bit of fun, and some of the personalities of the people up there were quite colourful, including a bubbly young girl in her 20's (or younger) who managed to make it through, and a young strapping hippy fellow, determined to throw as many corny pick up lines to her rockwiz highness Julia Zemiro, as possible. Julia is even dishier in real life as she is onscreen, (that picture is awful) and her charisma even bigger. It was very obvious that she's done this for so many years and things were pretty heightened and over the top, but to be 'on' for such a long period of time has got to be hard, and she does it well. She also handled sleazy hippy guy without batting an eyelid.

The incredibly charismatic and entertaining Henry Wagons, and put-out looking Kate Miller-Heidke were the guests of the day. I realised on this day, after an exciting little number from Henry, what I don't like about Kate. Kate prides herself on her quirky tunes with a little in joke involved (see that Facebook song, Australian Idol song, Psycho Killer cover), which could be misleadingly described as well written. Take away those jokes though, and you have some pretty vacant and awfully written songs. Also, that quirky fun personality that she tries to emit through her songs, just does not transfer through her on stage persona (or, as I have not seen her perform in years, televised persona). It certainly didn't today, and throughout the whole show, she looked like she would have rather been anywhere else. Julia tried to banter with her with very brief returns, and she really didn't provide much to the experience at all. Perhaps she was roped in? Perhaps she was hungover? Hmmmm.

"Henry, f*** off so I can go write a song with Bemg Folndes"

The greatest part of the RockWiz show were the regular musical guests from other artists at the festival, a lovely treat, as we were only there for a day and wouldn't have the opportunity to check everything out. We got some great performances from Irma Thomas (ahhh she just had to open her mouth slightly to make amazing sweet music come out of it), Eli Paperboy Reed, and Barrence Whitfield, finishing up with a group song at the end with the whole gang.

So the RockWiz part of the day could have been the most value, not just for the gameshow and Julia, but the performances we were treated to. I walked out of the tent to be graced with moans and groans from the oldies at their aching bones and backs and legs... and being the smug young thing I am, I had to say "This is only the beginning!!"

Catering for the older group, the festival had some differences that I was not used to at Splendour and Sunset Sounds and such, particular as it had designated places for picnic chairs, which diehard fans had set up in the main tent for hours staking their prime spot for Bob. So in the end, my dear father got us some chairs for us to copy, and I have to say it was nice to be able to sit and relax in between acts.

Before Bob, we caught a snippet of Tim Robbin's band, and a set from Buffy Sainte Marie. She was quite interesting, and I was surprised to find she'd written a few pretty well known songs, such as "Universal Soldier" (Donovan) and "Love Lifts Us Up Where We Belong" (but we won't talk about that...). She was very passionate about her Native American upbringing and standing up for rights, and had a lot of energy and passion... I did feel nasty comparing her voice to Yoko Ono, but it really is quite unique and hard to warm to. Her set was much more interesting than the one that followed, by Warren Haynes of Allman Brothers' fame, a band I really know nothing of and doesn't seem to be my preferred style. I was very bored with Warren's set and could not get into it, but I think it's just a type of music, that country-blues-m.o.r. style, that isn't for me.

That was over soon enough, and Dylan's time was now. As anticlimactic as the whole thing was, it was... truly a unique show. They had shut off the screens for the audience, so there was no closeups of Bob's anything. Because the crowd was so huge, all you could see was a blur with a top hat.

As the music began, I experienced the worst live performance of my life. From beginning to end, it was the dreadfullest. His voice was not a voice, but a crackle of spat out verses... not in sentences but in quickly strung together words. There were moments where he sounded like he was loosening up a bit, but it never really improved. There were so many songs that both myself nor my long-time-Dylan-listener family members could not identify. Even such obvious classics like :Tangled Up In Blue", "A Hard Rain's Gonna Fall" and "Like A Rolling Stone" were impossible to pick until a poorly executed version of the choruses were played. If the band had been amazing, one may have been able to pick the tune, but even the band weren't anything to rave about... they did the job required, nothing exceptional, but nothing terrible.

From not being able to see much to not being able to hear anything worth hearing, it was much like a really bad session of karaoke, but one you did not have any patience for. Actually, at least a really bad session of karaoke is a bit cheaper and supplemented by egging on and alcohol. This was much much worse, and worser still from such an iconic musical hero to so many people.

By the end of it I was so happy for it to be over. It was embarrassing. I usually have no problem with ageing rockstars touring in this day and age, because they do often have some appeal to the new generation- and while they meant something different to the people listening when they were big, they mean something else to me now. But Bob Dylan needs to stop. right now. Brian Wilson was endearing in his lack of performance skills, and at least he seemed to be enjoying himself. And we all know he's crazy. Bob is ruining his music genius and influencer of all status, by making us pay squillions to squirm at awfulness.

If it weren't for Elvis (and RockWiz earlier) it would have been a total money waster.

What I love about Elvis Costello’s performances, this being the second one I’d seen (first being his QPAC Brisbane show in 2004) is his tendency not to mess around, but get straight into playing as many much loved tunes as he can, with only a small break of minimum crowd banter in between. He flies through one after the other smooth as a whip, swapping guitars now and then thanks to on-guard roadies. It makes for such an energetic show, coupled with the fact that this guy refuses to lose any momentum due to age. His voice is still stunningly powerful and full of emotion, his musicianship is still amazing, and he looks like he’s having a fantastic time, unlike Mr D an hour previously (well from what I could hear anyway). Elvis began with a classic guaranteed to move the crowd out of their depressed slumber, "Pump It Up", and moved quickly through an excellent selection of favourites, including a fair few from 'My Aim is True', 'Next Years Model' and 'Oliver’s Army' (the three essentials in my humble opinion). He also played a couple of new ones from 'National Ransom', and brought up Secret Sisters to sing one (1) word of the chorus of “A Slow Drag with Josephine". They sounded like sweet songs, with as much of the country element as the last toured album I'd heard, 'The Delivery Man'. We were treated to an emotional “Alison”. "Beyond Belief", and an extended version of "(What’s So Funny ‘Bout) Peace Love and Understanding". He didn’t play my absolute favourite that gave me tears in my eyes at QPAC, "I Want You", but I wasn’t going to hold it against him; its themes of dark stalkery obsession aren’t really festival material.

Once that whirlwind ended, the feelings of hopeless embarrassment were replaced with a warm fuzzy sigh of relief, and thankfulness that it all hadn’t been a wasted festival. I was so glad Elvis had headlined the Monday night and the best was saved until last, but still a shame that his performance was overshadowed by the folk king Dylan.

Upon writing this review, I’ve looked at a few other reviews of the day, and many sung the praises of Bob’s performance. I don’t know whether they were at the same show as me, or there is a little cognitive dissonance coming into play… justifying paying an arm and a leg (up to $150 a night??) for a terrible performance, by pretending it was awesome?? The inability to accept that such a legend can sound terrible? Geez, get a grip journies.

Post re-edited and re-posted! phew. 6.5 blog hosts out of 10.

I said do it again, do it again (turn around GO BACK)

GOMA, or the gallery of modern art to you non-brisbane folks, is an absolute godsend and has improved Brisbane million fold. At the moment they are exhibiting "Let There Be Rock", a cinema program, where they are showing an amazing range of musical act movies, from The Wall to A Hard Days Night to Spinal Tap to D!G... Ahhh it's a fantastic program. You can, no should, check it out here: http://qag.qld.gov.au/cinematheque/current/let_there_be_rock.

Anyway there are so many I am hoping to see, and today I started with probably the number one movie on my must see list, D A Pennebaker's Ziggy Stardust and the Spiders from Mars. I'd seen it before many years ago on DVD, and it was before my insane David Bowie obsession truly formed, so I had not retained quite so much of it. As it stood, it was a striking documentary, simply capturing the last show of the Ziggy Stardust and the Spiders from Mars tour, and the 'last show we'll ever do' (everyone of course freaking out until realising that the character of Ziggy Stardust and his Spiders were disappearing, eventually making room for Bowie's next character). I sat there mesmerized and enchanted by the entire film, heart in throat as if I was actually an audience member with 70's hair and undying adulation for the glittered slenderman in front of me. I found it difficult not to clap at the end of each song and was relieved when audience members eventually relented and did so themselves.

Let's get real here though people, in many aspects it's not the best filmed documentary. Onstage the camera captures much of Bowie and the band's action, including wonderful detail... for example, the close up while he plays the last verses of "My Death", captures a tear forming and streaming slowly, adding extra depth and passion to the words of the song. However, any camera work directed at the audience is pretty shockingly done, so that there are great big spaces of darkness, amid bad resolution shots of ladies with massive glasses and screaming mouths. It's also weirdly put together, so that a few of Bowie's entrances are totally missed or delayed, with the camera choosing to focus on blurry audience members instead.

What makes it, is him, and the band. Mick Woodmansey, while mostly hidden from the camera, is dynamite on the drum kit, nailing every fill and driving the whole process. Trevor Bolder also doesn't share as much film time, but his presence on the bass is everywhere. Mick Ronson, god of guitar, is nothing short of fucking motherfucking amazing. He effortlessly fingers the electric like he could do it in his sleep and totally steals the show. Meanwhile, Bowie takes his place front and centre, gaunt and bony, with his electrified hair, awful teeth and multiple coloured eyes, no doubt in full throe of his cocaine addiction, and obviously so. Through what feels like 20 costume changes and androgynous makeup, his emotion filled vocals, theatrical stage moves, and his general Bowie charm, this plain and simply ugly man, turns into a sexual madman. Yes, had I been a teenager (or anyone really) in 1973, I would have been absolutely mad for it. David Bowie, and his Ziggy Stardust persona, is a perfect example of what a presentation of oneself can do for one's charisma and desirability. As well as a little mystery.

I honestly do NOT believe in this day and age that anything as amazing and anyone as talented and creative and dynamic as Bowie will ever take over music and life as much as he has. Granted, his 80's-90's catalogue is pretty lacking, but dammit, the 80's-90's was kind of a shitty era for consistently good music (thanks to marketing and the paint by numbers industry). But the humorous thing about that scene in 'Extras' with Andy Millman coming up to his idol to wonder if he'd sold out, was that, at least in the decade where he held the world in the palm of his hand, David Bowie could never say that he had sold out. He broke so many rules in the music world, through his personae, his imprint on the media, and most of all, his music. Half of 'Heroes' is rarely listenable to me. 'Low', is my parents worst nightmare. But Bowie wasn't interested in pleasing a body of people, he was interested in experimenting, trying different sounds, and as a result, "Low" was WAY ahead of its time. He has inspired more artists than people realise, even if they turn into horrible pop monsters like Lady Gaga.

After this film warmed my heart, I couldn't help but lament on the fact that I do not live in the 70's, and Pennebaker's film was the closest I was ever going to get to that amazing moment. David Bowie may (oh, PLEASE) tour here again, and it will be epic... I would be the happiest girl in the room would it happen. But of course, he is a much saner, and older person now (and I have to say, he's aged better than he should have). The magic of glam, groundbreaking live music is over, and in its place is a memento of what was. The what was, I never experienced nor ever will.

In the 60's and 70's, what was played on the radio, was actually pretty good. Have you ever wished you were born in another era or place, and you got stuck here when you were supposed to be somewhere else? Sometimes I feel mad that I'm in a world where Justin Bieber is a household name, and a The Books gig isn't even half sold out in a small room.

But I'll stop feeling mad, and instead grateful that I got to see a classic live performance on a big screen, and thank GOMA for making it happen, and see some more terrific shows at the same venue. AND SO WILL YOU.

Gareth Liddiard and Dan Kelly, the Zoo, 26th April, 2011

I like the Drones. I like the couple of well crafted powerful songs that I've come to know, although i have not purchased an album. However, I don't like them enough to say they're these genius mentalists, and hence I have not an album. I saw them at the Hifi when it first opened, and it was enjoyable, but i have to say, it began to bore me by the time the last spitting poetic ballad was on. It's extremely hip (and hippie) to hail them as one of the best australian bands and Gareth Liddiard, front man, as a lyrical saviour. i have to say i have not studied him enough to say either, but i do feel a little put off. Still, at my mother's suggestion, I came along to the Gareth/Dan Kelly gig (one of my mum's favourites) to check his solo thing out.

It was the third (or fourth??) time I'd seen Dan Kelly, so I knew what to expect from the rockabilly fringed tongue in cheek nephew of Paul. He came on stage advertising a sore throat, and despite this pulled off a well executed, entertaining acoustic set comprising of his most

recent and previous Triple J played songs ('Hits' is not the word I would use??) Dan chatted to the small crowd gathered in front of him, myself included front and centre, simply because there was more than enough room for me there. He carried through tale after tale, and probably tattleda little too much, but not too much that he didn't get a decent bunch of songs in. He played 'Dan Kelly's Dream' tracks such as "I'm Coming on", "Bindi Irwin Apocolypse Jam" and the title track in his varied, talky style, making good use of himself with just a guitar and voice, and remarking on bits "where the band sounds really cool".

Dan got the smallish crowd singing along and cheering and appeared genuinely grateful to have us here, despite knowing this sold out show was thanks to the headline act. I like Dan, much to a few close people's dismay, but I do feel his jokey manner overshadows and cheapens his talent. Some of his songs are really outstanding and he has the alt country vibe with an added creative twist, but the novelty cheek (see "Bindi" and "Drunk on Election Night") can become a little weary, so that he's in danger of becoming a joke fad musician. It's all well and fun, but I'd like to see a serious side, until before he realises it, he becomes a joke himself in his middle-aged years, ala the likes of Ben Folds.

Having said that I thoroughly enjoyed his performance... the fact he doesn't take himself too seriously makes for a great connection with his audience and a good show. At the end of it, my parents were a few wines in, and knowing that Dan is a Brisbane brought up fellow, and that my cousin went to the same school as him, tried to egg me on to talk to him and "see if he remembers *JOHN SMITH*, eh!??? DO IT!! GO ON!! GO ON!!!" 'Oh excuse me Mr k=Kelly! Do

you remember this guy who was at your school and you may have seen some times in your youth?' No fucking way was that going to happen. This is why you go to gigs with sensibles and not crazy ageing hipsters.

After they settled down, Gareth Liddiard decided to show up, in all his scruff. Gareth prattled on for as long as Dan did... then a little longer.. then longer still.. until it was evident that he probably wasn't going to ever shut up. I couldn't really understand what he was going on about

most of the time, so to be completely honest, I didn't listen too attentively. Eventually within the rambling, Gareth played a song. A slow, boring, ranty, unengaging mess. He played a few more just like that, continuing to talk way too long in between songs. As he continued, it was obvious how wasted he was, and totally uninterested in entertaining anyone but himself. His words were brash and rude, and even admitted that "This'd be embarrassing if I cared". Glad to see you appreciate the fandom of the ones that do, Gareth.

Half way through (of what I saw), he broke a string, prompting Dan to come up and assist him by fixing it up. Much later, the same process resumed. It was painful, tedious, and quite a waste of time. We chatted amongst ourselves (mostly damning this whole affair), at the side of the room near the window, and kept getting awkward glances from a few people watching him faithfully next to us. Eventually, our chatting incensed one guy so much, he turned to us, said "SHHHHH!" and gave us the finger. Well man, if you're going to take this crap, you are welcome to it, I thought; the others agreed, and we left the die hard nutty fans to the fucked up wanker on the stage.

I felt dirty for leaving early without a prior reason apart from that we were too bored, but i don't think i could have taken much more of it. At least Dan saved the night with his professionalism, and better manipulated talent. i understand that being a rockstar often means being hyped up

on drugs, alcohol, etc. but even the most wasted musicians known for their excess still managed to put on a decent performance. This guy totally ruined any desire for me to discover any more of his music, and make a better assessment of his lyrical ability. Sorry Gareth, I really am.

Gareth gets 1 broken string for at least making it to the stage, and Dan gets 6 intact strings plus Gareth's broken one.