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I Believe in Milk Cows: You Sexy Thing

cow

I negotiated the semi-circle of Adelaide’s most notorious roundabout by the Britannia Hotel, before slipping onto tree-lined and genteel Kensington Road. It was just after eight in the morning when the opening chords rushed into my tiny car.

It was a revelation, and happy reminder of the excellence that had come before. Yet again, Triple J would provide instruction, although on this occasion it was Mikey, the Sandman and guest presenter Rosie Beaton’s weekly segment during which a much-loved song was played.

I believe in miracles

Where you from?

You sexy thing

London funk and soul outfit Hot Chocolate’s greatest song is firmly anchored in 1975, but also transcends this frightfully disco epoch, and to my ears is still as irresistible now as it was when it was cruelly denied rising to the top of the charts by Queen and their “Bohemian Rhapsody” juggernaut. Testament to the affection for “You Sexy Thing” is its rare achievement of charting in the 1970’s, 80’s and 90’s. Spare him his life from this monstrosity, indeed.

There’s orgasmic violins- listen carefully, and tell me this is not the case- which soar across the arc of the melody, absurdly catchy vibrato guitars and (late) lead singer Errol Brown, whose voice is perfect, with a soulful performance that is almost a gleeful shout, especially in this unexpected, but joyous couplet-

Yesterday I was one of the lonely people

Now you’re lying close to me, making love to me

However, the opening lyrics continue to confuse listeners, with the following declared among the catalogue of the misheard

       Are you bleeding mental

Where’s your car, you sexy thing?

And then this, a pre-Trump assertion

I believe I’m American!

Not ignoring the geek-driven, Family Matters option

I believe in Urkel

The esoteric-

        I believe in Malcolm

Wear your bra

You sexy thing

A piscatorial tribute-

        I believe in mackerels

And finally, attributed to a German gent, allegedly hard of hearing-

               I believe in milk cows.

*

“You Sexy Thing” is ageless, disco genius; a song that elevates mood, and our capacity for joy, instantly.

Go on, stick it on! Now.

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A Day on the Green: Annie’s Lane

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One of life’s unexpected joys is to chance upon a game of cricket. Arriving in the Clare Valley we locate the bush camping ground ($10 a head) at the Watervale Oval. Setting up our camper trailer is like every couple assembling Ikea furniture together, but without the fun, laughter and argument-free marriage-building.

Indeed, a game of cricket is happening. The oval is shielded by an impressive stand of gums along its eastern side while a handsome grandstand sits atop a gradient that makes Lords appear flat. A round robin Masters tournament is underway, and my lunch is a snag in bread ($3 a pop, sauce no extra) and a Rabbit & Spaghetti ‘The Fox’ Hop & Rye Lager ($5 per 500ml can, 4.8% ABV).

The boundary is in, and the boundary is breached, often. Very few singles are taken. None are run. One innings is opened by inaugural Crow and dual Margery Medallist, Andrew Newton Jarman, who makes, as you may suspect, an exotic and inevitably brief seven.

We stroll up to Annie’s Lane winery for A Day on the Green. Models began and are serviceable, but more cask white than perfumed Riesling, with “I Hear Motion” the highlight. There’s lots of darting, skipping infants here, and between sets the DJ spins Bowie’s “Suffragette City” and a boy of about ten immediately sings along. I’m impressed. He’s wearing a Coopers brewery cap, advertising Mild Ale, which at 3.5% is mid-strength. They’re obviously responsible parents.

NMFC fan and guitar-slinger Tim Rogers is next, and announces that the Adelaide Crows have won the grand final. A mate and I discuss which Tim might perform. I say, “When I last saw him in November we got bad Tim. I hope good Tim’s here today.” Neil replies, “Oh, I don’t know. Bad Tim could make it interesting.”

I get a Fat Yak ($8, 355ml) and a local sparkling shiraz for the wife ($35 a bottle, 13.7%, with “lifted aromas including black olives, figs and Christmas cake spices”). Good Tim does an up-tempo version of “Heavy Heart” which has this great lyric

Been watching so much TV

I’m thinner than I should be

I’m like a waterlogged ball

That no-one wants to kick around anymore

Stopping by various islands of friends I visit the merchandise stand, and settle upon a Day at the Green stubby-holder ($10, but bottomless) while the wife selects a Violent Femmes t-shirt ($40, the one featuring their eponymous album’s cover). There’s gorgeous autumnal light on this tropical afternoon, and it endows the valley with a McCubbin quality; even the curved line of rickety porta-loos ($0, minimal wait time).

The Whitlams are excellent, and I’m struck by the agelessness of Tim Freedman’s voice. With their blend of wit, quirky sentimentality and piano-driven pop they remind me of Ben Folds Five, North Carolina’s finest trio. Among their terrific lines are, from “Melbourne”

If I had three lives, I’d marry her in two

and their signature song, “Gough”

Come over have dinner with me, we’ll play chess and drink claret

Walk slowly down my little street, can you bring Margaret?

Finishing with “You Sound Like Louis Burdett” we rename it to honour the iconic Adelaide Oval curator, Les Burdett. I get another Fat Yak (still $8, mercifully no variable pricing) and the wife and I pull apart and devour our savoury pull-apart ($6, you know the bakery chain, the one with the jangly jingle).

The next act is introduced as coming from Ohio, but the Violent Femmes are from Milwaukee. Is it a mistake, irony or an alternative fact? Is there an issue with what Colbert calls “truthiness?” Invigorated by winery produce and news of Hawthorn’s imminent loss the crowd is up and dancing as they zip through their country-twinged songs about adolescent desperation.

“Blister in the Sun,” “American Music” and “Old Mother Regan” are superb. It’s charming to also be in Clare with my dear old friend Clare and she films us, if this is the correct verb, singing “Country Death Song.” Clare promises to post it on social media, and I’m sure we’ll soon be celebrated as a contemporary Sonny and Cher. However, Sunday afternoon’s initial viewing exposes this as unlikely (probable recording contract value, $0).

“Add It Up” is all psychotic teenage anguish and the Gen X crowd is jumping to this last song. Gordon Gano’s voice has been perfect: at once sunny and whingy and smiling, leading us to happy places, while Tasmanian resident and MOMA curator Brian Ritchie monsters xylophone, jaw bone and bass with good humour too.

Led by Flacco lookalike Dave Faulkner, I saw the Hoodoo Gurus in the late nineties on their break-up tour, which of course, was from the pre, post-truth world, and never something anyone really believed. For the right fee, even the Ramones might again tour. So here we are in 2017 as they perform “Leilani” and “Bittersweet.” Along with Jackson Browne’s “The Load Out” and the Rolling Stones’ “Torn and Frayed” the anthemic “1000 Miles Away” is among my favourite road songs.

Remember how “Like Wow, Wipeout” became the theme song of Brylcreemed, ear ringed and punkish Australian off-spinner Greg Matthews? That was 1986. The song endures while Mo Matthews is now a radio commentator so I’m unsure if he still uses hair product from when Menzies was PM. It’s the final song of a fun day.

Prior to breaking camp and over a breakfast latte ($5.50, red van by the oval) I check the footy and cricket scores. I also see that Dad’s Nuriootpa Tigers Division 1 bowls team has jagged another flag, his twelfth.

All about the campsite there’s deceased camping chairs (too many $$, the sausage sizzle hardware mega-store) in Salvador Daliesque tangles of disappointment and enthusiastic Sauvignon Blanc. Our twenty-year veteran chairs ($40, Port Pirie camping store, late lamented) are in the boot, ready to ride again.

The cricket begins. We drive south, into our muggy Sunday.

camplet

 

 

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December 5 2006 in Adelaide

SK

Beyond the family home Adelaide Oval is among my favourite places. Previously, it was uncluttered and open and big country-townish; more like the St. Lawrence Ground in Canterbury than a modern Australian stadium. Its boundless space and light have been replaced by vertiginous, curved shapes.

It’s the final day of Adelaide’s 2006 Ashes Test. Earlier, in the twilight of my teaching year, between tortuous enrichment activities, I’d watched the cricket in the staff room with some chaps, leaning in towards the screen, increasingly enticed by the grip of the action. Across our city in offices, shops and factories folks were getting itchy. Some mates and I volleyed texts at each other. Let’s get in there. Sorted.

I’d gone on Day 2. Like most I went home assured of an inconclusive match as Paul Collingwood accumulated a double century, while SK Warne struggled to 1/167, in an analysis cheerlessly reminiscent of his 1992 debut at the SCG. Then, after our first innings, the draw appeared more certain.

Indeed, the first four days suggested nothing else.

My most recent Test match experience had been September 2005 during the Ashes at The Oval. Down from Hertfordshire on a sodden Saturday we watched as rain repeatedly forced Langer and Hayden back to the sheds. The urn we’d held since 1989 was slipping away. The Barmy Army’s affectionate Shane Warne back catalogue offered musical entertainment when the sport provided little.

I love speculating about cricket’s fascinating relationships. The Waugh twins. The Chappell brothers, educated at the primary school our boys attend. And SK Warne and pretty much everyone he encountered on the pitch, and off. Like many of exceptional talent he was attracted to those with approximate, but ultimately different cricketing arsenal.

With his infuriating confidence and bird-poop splattered hair, Kevin Pieterson had a curious affinity with our leg-spinner. Shuffling forward and attempting a sweep, he swatted crudely at one outside leg stump. Lobbing in the rough, it stole behind his limb like a spy, and his feebly listing front pad, before spitting poisonously. In yet another wholly engrossing single-act production, the Kookaburra finally, fatally bit his off peg. It had spun several feet. It was the summer’s most compelling moment. KP had been schooled by his elder, and England was in trouble.

By now, each delivery from SK Warne was Vegas show business, but pure in its fizzing, hypnotic joy. And then Ashley Giles registered a duck to a monstrous delivery, while the supporters continued to splatter the ground, as if populating a Monet.

I contemplated my friend BJ O’Sullivan at home in Harrow. Barry identifies as Irish, and had significant quid invested in Australia triumphing in the series 5-0.  At mammoth odds, too, so he’s enthusiastic from afar. Incidentally, I once hosted a party in England, and among the guests were the same Barry of Norf London, Jimmy from Glasgow and Paddy from Ireland. True.

England is skittled in the penultimate session. Australia bowls cleverly in pairs with the blonde one taking 4/49; not spectacular in the seismic sweep of his career, but within this Test, and this series, it’s contextually huge.

From our members’ bench, we look eastwards towards the low, brown Adelaide Hills, noting how these continue the topographic theme established by the squat stands of this cricket ground. With school holidays, Christmas and a languid summer approaching, our mood is brash and buoyant.

The intrigues and narrative complexities gone, Australia is presented with a simple plotline: 167 from 36 overs. Langer clubs the first ball through mid-wicket for four. Vivid as ever, Bill Lawry bursts, “He goes bang. Four. It’s a one-day game.” As should happen the match is to be decided late, in its fifteenth session.

When Hayden goes it’s 2/33, and there’s some frisson. Questions murmur beneath the fig trees, and we bristle, momentarily. But, Michael Hussey is authoritative with 61no, and declares in an interview that he, “Bloody enjoyed it!”

oval

As the winning run is clipped through midwicket Bill yaps, “Look at the seagulls flying about. They’re saluting the Australians!” Beside a second Ashes victory it’s the locals’ ninth consecutive Adelaide Oval victory. The players rush down the steps next to us in a celebration as demonstrative as a football festivity.

The leaden sky of the previous London summer has vanished somewhat, and with lingering sentimentality, I feel at home, in this, my tiny, flat city, which clings to an inconsequential gulf. Transitions, especially the ones back to familiar places, can be angular and troublesome.

Later, among the eddying ecstasy, Damien Martyn, surely our most picturesque bat since Mark Waugh, clarified his feelings about his spot within this coterie. Richie Benaud had noted that at some stage everyone looks in the mirror, and on this most magnificent of Australian cricketing days, Martyn retires instantly, but with a stylish absence of extended tabloid explanation.

At this time my wife, some of my cricketing colleagues and many thousand others rushed towards Robbie Williams, pop singer of Stoke-On-Trent, who was to perform at Football Park. Curiously, Robbie was often referred to on BBC Radio 2 by Jonathan Ross as the “bug-eyed yelper.” Those at West Lakes enjoy the former Take That troubadour, and his most magnificent show.

Football Park is now abandoned and Adelaide Oval has been vividly reshaped. December 2006 was the last time I would see McGrath, Langer and SK Warne play Test cricket.

Nonetheless, December 5, 2006 was a really good Tuesday.

 

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Adelaide’s Widest Variety of Pink

J and D

Autumn in Adelaide. It’s magnificent, and probably better than Baghdad in summer or Vladivostok in winter. The days are warm and still and the evenings are great for all manner of alfresco activity such as the Fringe Festival, centred upon the Garden of Unearthly Delights.

I was there with two dear old friends, Poof[1] and Trish[2] and we took in Judith Lucy and Denise Scott and their show Disappointments. In the football match of our lives it’s after half time and we’re, hopefully, into the Premiership Quarter[3] so the themes of dealing with aging,  bodily degeneration and the like are targeted at our demographic. It was fun, well as much fun as this comedy of cruelty could be.

Our after-show conversation was especially provoked by a rapid-fire monologue in which Judith catalogued how unspeakably awful pop music of the 1980’s is. Poof[4] and Trish[5] disagreed, coming to an enthusiastic, but ultimately incorrect defence of this cursed decade! Our friendship enjoys robust debate. The centre point of Judith’s argument was Rick Springfield’s “Jessie’s Girl” whose only redeeming quality is surely the correct use of the possessive apostrophe within its title.[6]

You know I feel so dirty when they start talking cute

I wanna tell her that I love her but the point is probably moot

See? ‘Tis a nonsense. Imagine a radio station dedicated to this swill? If you’d really like to wallow in colossal disappointment and have every joyful atom sucked from your being, I recommend listening to Mix 102.3, lurking poisonously on the FM band and doubtless streaming right now across an undeserving galaxy. Love the more putrid songs of the 1980’s? Here’s five in a row! Love those crappy INXS ballads that should never have been on their otherwise great albums[7]? We’ll play one an hour. Up for those rubbish Bowie tunes, from the time when he’d truly lost his way and we thought he’d never return? I’ve got one right after the news! It’ll make you tense, if not physically and spiritually sick.

When Mix 102.3 is not undertaking 1980’s aural terrorism[8] it’s playing Pink. Astonishingly, it’s slogan is “Adelaide’s Widest Variety of Music” but if there’s any truth in radio sloganeering, it should be “Adelaide’s Widest Variety of Pink.” Delusion dictates that it must play Pink multiple times within each freaking hour of their godless day. Listen for any length and you will certainly wish you were trapped in a CIA black site, and about to be folded into a dark cupboard for a fortnight. If you were bound by rope to a chair, listening through bleeding ears, and somehow decided to drink a shot of Bundy[9] every time you heard her banshee gibberish shrieking from the radio speakers, you’d turn into Sir Les Paterson[10] or Elizabeth Taylor[11] within about fifteen minutes.

I love the 1990’s. In among the grunge of Nirvana and Pearl Jam, who I also like, there were lots of sunny songs with great melodies and fetching harmonies. The Sundays and Weezer spring to mind. Then there’s Teenage Fanclub and their signature tune, “Sparky’s Dream.”[12]

It opens with gangly guitars and this great lyric

If she lived in space, man

I’d build a plane

Aside from the aeronautical impossibility it’s a song of optimism and joy.

I reckon Judith Lucy would like it. You’ll never hear it on Mix 102.3.

 

[1] Not her given name, but certainly her real name

[2] Not Patsy, under any circumstances

[3] Australian Rules football metaphor indicating the most crucial section of a grand final

[4] Not her given name, but certainly her real name

[5] Not Patsy, under any circumstances

[6] See previous two blog entries for more on this

[7] Shabooh Shoobah from 1982 being one

[8] As developed by the CIA, ASIO and Stock, Aitken and Waterman

[9] Dark rum from Queensland, another act of war

[10] Hideous but hugely funny cultural icon

[11] Apparently enjoyed an aperitif

[12] Note correct use of possessive apostrophe here too. See, it’s not so hard, people

 

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Fun and Feasting at the Beggars Banquet

devil

Who forgot the apostrophe? Mick or Keith? Should it be Beggar’s Banquet or Beggars’ Banquet? I prefer the later, imagining a mythical party hosted by the Rolling Stones somewhere like, say, Tangier in Morocco.

Punctuation marks denoting possession aside, this 1968 release is the most fun of their career with sitars, LA’s Watts Street Gospel Choir and a polite devil all prominent. Forgetting the psychedelic swill of Their Satanic Majesties Request, this album’s ambitious but also homage to their American influences.

The music of Satan is not, as many might attest, heavy metal or any of its more ridiculously camp variants. His accompaniment, of course, is something much more seductive. Opening Beggars Banquet is “Sympathy for the Devil” which is narrated by Lucifer himself.

Underpinned by congas the music is a samba: hypnotic, sexual, inescapably charismatic. And there’s the Devil, resplendent in a sharp suit, drawing you in over a cocktail with his allure, but also his invisible menace. Indeed, the opening to this dramatic monologue is a deferential “Please allow me to introduce myself…”

In the days after its release, I imagine God-fearing folk from places like Lynchburg, Virginia quivering at Mick’s vocals, but I reckon it’s now fanciful fun, fetching theatre.

*

In Keith Richards’ autobiography Life my favourite vignette centres upon the young author and his grandfather in Soho, during the austere 1950’s. Upon seeing a poor urchin, the elder asks, “Keith, have you got a shilling?”

“Yes.”

“Good. Now go and give it to that boy. He needs it more than you.” Keith does.

“Well done,” praised granddad, “That’s very kind.” He pressed his fist into Keith’s paw.

Keith opened his hand. In it were two shillings.

*

“Dear Doctor” is the third track and takes us musically and narratively to the American south with the mawkish tale of a doomed boy, trapped to his betrothed.

The melodramatic context is clunky, but it’s one of the record’s fine acoustic songs that could be dismissed as irreverent; making fun of the genre. However, this would misjudge the band’s deep admiration for this music, as they deliver us to their beloved blues and country destinations. Worship, and not cheap parody is driving the pick-up. Such is the authenticity of Mick’s vocal characterisation that the finale is a relief for us all

It read, “Darlin’, I’m sorry to hurt you.

But I have no courage to speak to your face.

But I’m down in Virginia with your cousin Lou

There be no wedding today.

*

In February 1965, my Mum and Dad saw the Rolling Stones at Centennial Hall. It was part of the Showgrounds, but the building is now demolished. A short Par 4 from where I work, and commuting past, I envisage flickering black and white footage and screaming. Shrill, teenaged, screaming.

Roy Orbison took the stage beforehand and with his voice like “the cry of an angel falling backward through an open window” the crowd adored him. But then, Mum and Dad both remember the Stones being booed and jeered. What? They played eight songs with competent energy, but it was too late. Adelaide loved the Big O, and gave the boys from Dartford the Big A.

*

The Rolling Stones are now popularly connected to the electric guitar, but on Beggars Banquet the acoustic songs generate much of the fun. “Prodigal Son” is a country blues, Bible-infused number that on the record’s early pressings was wrongly attributed to Jagger and Richards. It was by the Rev. Robert Wilkins, a Memphis gospel singer and herb medicine specialist whose first recording was “Rolling Stone Blues, Parts I & II.” It dates from 1928.

It’s a reminder that they still loved the blues and regarded themselves as belonging to Memphis as much as London. “Prodigal Son” is a terrific driving song, and the Mississippi swims into widescreen view as Mick’s harmonica eddies and swirls across the speakers.

*

The album is colonized by rich characters and the richest here is the “Factory Girl.” It’s a curious amalgam with violins, South Asian congas or tablas giving it a Hindustani feel and Mick’s mid-Western vowels providing a pilgrimage too. The girl is irrepressible: catching buses, sporting “curlers in her hair” and loving a weekend fight. Even with the “stains all down her dress” she’s attractive. It’s my pet track.

Opening the batting for the band’s astonishing run of form which witnessed consecutive centuries through Beggars Banquet, Let It Bleed, Sticky Fingers and Exile on Main St, it’s a whirling, boisterous set. While it doesn’t gather the acclaim of its successors, it’s their most fun record.

*

And I’m not sure that the title’s absent apostrophe is rock’s greatest grammatical crime. This surely belongs to Paul McCartney’s “Live and Let Die” for its maddeningly redundant preposition, which if you’re not vigilant, sticks in your head like a rusty nail

But if this ever changin’ world

In which we live in.

Ladies and gentlemen, Beggars Banquet!

stones

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Max and His Most Magnificent Apostrophe

dogs

Already, at six, our youngest, Max has mastered something which, even at their towering heights Mick, Keith and the other Rolling Stones couldn’t get right.

He knows how to use the apostrophe of possession.

Last night doing homework at the dining table Max shows me a picture- a vague, blobby creature fashioned from newspaper. “I have to write a story about this person.”

And so we invented some of the creature’s backstory. Max decided that, like all good creatures, this one would play basketball. He named him Bob. With the character established I explained to Max that his story needed some action, some conflict and then, without any prompting from me, he opened his second paragraph just like this

Bob’s team

Sensational.

“Well done Max. This is one of Dad’s best days ever! Who taught you to put in the apostrophe?”

“Nobody. I just know it.”

Apostrophes suffer enormously in our world. Often cruelly forgotten. Sometimes put to work when they shouldn’t be. Abused by café-owners and green-grocers alike. How many pub menu boards advertise these?

Sausage’s and mash- $12

I love apostrophes, but Mick and Keith, in the midst of their astonishing run of form over a decade from the late sixties which included Let It Bleed and Exile on Main St omitted these. Twice. Their albums Beggars Banquet and Goats Head Soup, depending on the number of beggars and goats (that’d be a great party), should probably be Beggars’ Banquet and Goat’s Head Soup. This seems an odd mistake to make, given that Mick is happy conversing in French about noted seventeenth-century philosopher François Poullain de la Barre.

Of course as part of my concerns for your grammatical health, I should now remind you about the importance of using capital letters as evidenced sharply in this sentence

I helped my Uncle Jack off his horse.

But, last night at our wooden table, with a simple flick of his Bic, Max made my week with a punctuation mark.

Go on, hug an apostrophe!

stones

 

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The Kapunda Cricket Club: Long Necks in Brown Paper Bags and the Patron Saint of Spoofy

kcc-derro-and-spoofy

In 1880 the Australian Test side played a match in Kapunda against a local team. The shops shut at noon and thousands gathered. The national captain, Billy Murdoch, congratulated the club on the Dutton Park pitch. It was coconut matting.

The national side made 401 with opening bat AC Bannerman registering a century. The local side accumulated eighty, despite there being a batting line-up of twenty-two chaps. Only one fellow, TR Bright, got to double-figures with twenty-seven. Ten made ducks. Can you imagine a Wade/ Maxwell conversation happening back then?

“Hey Skip, got a minute?”

“Sure. What’s the problem?”

“I see you’ve got Bennett coming in at eighteen. And I’m batting at nineteen.”

“That’s right. He’s actually made a run this year.”

*

Saturday night saw the celebration of Kapunda Cricket Club’s sesquicentenary, and it was held at Dutton Park. Arriving late afternoon Woodsy, Bobby Bowden and I wandered down to catch the closing stages of the A grade fixture against Freeling. On the grass and under the shade we had a yarn with Tolly, Bart, Whitey, Goose and Rexy who were taking refreshment as preparation for the evening. Kapunda took four wickets to secure second place.

*

Away games still mean meeting at Rawady’s deli in the Main Street, just next door to the Sir John Franklin hotel. Thirty years ago, we’d head off to Eudunda or Angaston or Truro in a car with no air-conditioning. FM radio barely existed. Bench seats like those in HQ Holdens allowed six so only two cars might be needed. Toranas and 180Bs were rightly seen as selfish.

You’d be squeezed in and somewhere like Riverton was only about twenty minutes away, but with cramping calves and eyes stinging with the smoke of a dozen Winny Reds you’d slide from the seat with a soaking back like you were being born.

This is the Kapunda Cricket Club.

*

In a change room at Dutton Park some memorabilia is on display. I wander through. Old bats- GN Scoops and Fielkes, and boxes- such as the one made famous by Froggy are there, as are old score books. One from 1987 is on a bench and Bobby Bowden finds the match against Greenock, the one cruelly documenting his eighteen ball over. I’d forgotten that he and I opened the batting, but then when this happened, why would we?

Sudden by international standards, the demise of England’s G Swann was glacial compared to Bobby’s. At the start of his final ever over for the Kapunda Cricket Club he was a reliable medium pacer. Eleven agonising minutes later his bowling career was dead.

It began with a couple of wides, progressed to a malignant lack of confidence and culminated with Bob, broken, walking to the wicket like it was the gallows, and trying to complete a legitimate delivery. It often ended up at slip, or skidding forlornly, ashamedly, down to fine leg. His mental self-disintegration was total.

Subsequent pub analysis confirms that Bob’s eighteen-ball over only contained seven legal deliveries, and therefore nearly thirty years on, remains incomplete. I was at mid-off, and lobbed the ball to him, fifteen times. I felt increasingly like I was throwing him a box jellyfish. Or a can of XXXX.

This is the Kapunda Cricket Club.

*

Cricket clubs provide much. Social instruction. Gentle exercise. Weekend structure. But mostly they generate memories. Eagle Rock with whites around ankles, slopping up beer and Bundy in a Tarlee disco. Tony Clarke spinning the black vinyl of “Walk Like An Egyptian.” A fella like Flab who, in astonishing dedication, wore his cricket whites until Tuesday. Yeah, Tuesday. Twice. Did these have to be burnt? If we had a nuclear waste storage facility (no doubt on the site of the former Railway Hotel) they probably should have gone in there.

I think of Spoofy. I think of the front bar in Puffa’s late on summer afternoons. Boys drinking West End from handles. No TAB or big screens. No pumping music. Just three coins, clasped behind the back. Not trying to win, but trying not to lose. Goose Mickan. Someone chirping, “Good call.”

The final moment and someone- hopefully not yourself, trudging off to buy for everyone like GS Chappell after his fifth consecutive duck. This, of course, all belongs spiritually to Whitey, the patron saint of Spoofy, or as he now calls it, “The Free Beer Game.”

This is the Kapunda Cricket Club.

*

And then, late afternoon somehow squeezing back into the HQ Holden as Chris Hayward once said, “Like ten pounds of spuds in a five-pound bag” we’d drive through the dusty warmth back home. This often included calling through a pub like the Greenock Tavern to get a long neck in a brown paper bag. One each for the journey.

Just as the drive to cricket could seem eternally long, as a seventeen-year-old the trip back home with a derro could be horribly brief as now within Kapunda’s town-limits you tried to gulp down the last of the beer. The HQ would swing into a park outside the Clare Castle Hotel, and you’d stare down the neck of the bottle, looking for the fish bones you’re sure are swimming about in there, wondering how the older blokes actually drank the stuff. Safely inside, after three schooners of Nugget’s finest, you’d recovered and all was fine. You were set.

This is the Kapunda Cricket Club.

*

It was a great night. There were stories from JL Mosey and Sarge Johnston and laughs and life memberships. Wayne Phillips made a funny speech in which he referenced Fatcat and IVA Richards and the beginning of his relationship with his wife which, in part, began atop Gundry’s Hill overlooking Kapunda.

After midnight, everyone drifts outside to the veranda. It seems like it’s only nine o’clock. There’s a looming full moon and the skittish clouds race across the velvet. After a blistering week, the cool change is arriving.

I call back into the club next morning on my way home and ask what time the celebration wound up. Matt says, “I left at ten to four and there were still about sixty here.” Impressive.

Some nights the stories just won’t let you go to bed. There’s too much to say, too many hands to shake.

And, this is the Kapunda Cricket Club.

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KCC Rawadys Deli squashed into Holdens Jock McGregor six Craig Hutton hat trick Rocket Tanunda Light Pass tie Leo Carter trained at KHS Fergie and Phil Bob and Christmas Greg Chappell hat Greenock dozen runs Interest in Caulfield Cup Spoofy Long neck Old score books Flab in whites until Tuesday 298 Dean Waugh Flipper coach ASADA 29 NSW Fatcat can’t guarantee that After midnight migrate outside, looming moon and skittish clouds 4am sixty folk, stories stretch onKCC Rawadys Deli squashed into Holdens Jock McGregor six Craig Hutton hat trick Rocket Tanunda Light Pass tie Leo Carter trained at KHS Fergie and Phil Bob and Christmas Greg Chappell hat Greenock dozen runs Interest in Caulfield Cup Spoofy Long neck Old score books Flab in whites until Tuesday 298 Dean Waugh Flipper coach ASADA 29 NSW Fatcat can’t guarantee that After midnight migrate outside, looming moon and skittish clouds 4am sixty folk, stories stretch onKCC Rawadys Deli squashed into Holdens Jock McGregor six Craig Hutton hat trick Rocket Tanunda Light Pass tie Leo Carter trained at KHS Fergie and Phil Bob and Christmas Greg Chappell hat Greenock dozen runs Interest in Caulfield Cup Spoofy Long neck Old score books Flab in whites until Tuesday 298 Dean Waugh Flipper coach ASADA 29 NSW Fatcat can’t guarantee that After midnight migrate outside, looming moon and skittish clouds 4am sixty folk, stories stretch on