2

Fruity Ale and a Fire Bucket

fire drum

Aside from irregularly charging into the charcoal chook shop on a tricky Tuesday and escaping with some cooked poultry and fried spud there’s limited chances in my cosy sphere to pretend I’m a hunter and gatherer.

But since we’ve now a fire bucket on the back patio I find myself sourcing wood throughout the wintry months, and last week in my pre-pub enthusiasm I zipped across the suburbs to a garden vendor and loaded my car with red-gum. My purchasing challenge had been made clear by the wife: don’t get stumps that are too big and don’t get stumps that are too small.

As a timber-collecting Goldilocks I surveyed the wood heap. With the drizzle tending to rain and the mud sloshing about my boots I pecked about the crumbling Cheops of logs like a fussy rooster. What I lacked in scientific application I compensated with crude, Cub Scout judgment and soon had a wagon-full of iron-hued stumps.

Easing the motor onto the weighbridge I felt an inner glow borne of a successful excursion that guaranteed I’d enjoy my subway sandwich at a proximate shopping centre. But this can be complex for I often find that a six-inch sub isn’t enough, and that twelve can be too much. Let’s all petition Doctor’s Associates Inc for a nine-inch sub!

*

Saturday saw the house lashed by angry squalls and clattering rain but the mid-afternoon fire kept us warm. Starting the blaze is acutely ceremonial and Alex was enthusiastically insistent and Max, a spirited jumper and involuntary clapper, while their Mum lit the first match to get us underway.

Gradually, there were family and friends and burgundy wine and cheese and chat and nostalgic music, and these generated a fetching glow in which I happily swam.

With a national conference looming it was an ideal gathering at which to road-test my new ice-breaker. Having workshopped it extensively with my old comrade and new-ish colleague JB, out it came, for in some ways it’s the ultimate question, and taps neatly into the endless Zeitgeist.

On “Islands in the Stream” who gives the best performance: Kenny or Dolly?

With stunning clarity, the results were revealed as a little lop-sided, perhaps in a similar fashion to that which saw Anne Shirley “Willsy” Wills (OAM) collect 19 Most Popular State (South Australia) Personality Logies. After scrutineering the votes were

Dolly- 9
Kenny- 1.

Still, as the late wrestling icon Rowdy Roddy Piper used to say, it’s about the process.

RRP

*

The fire danced and crackled and my playlist changed mid-seventies gears from the Bee Gees to Dr Hook so we added heavy chunks of red-gum and then night descended. Inside our boys and the other kids tore about and transacted in robust and efficient ways as their games began, unfolded and then collapsed, as all games must.

Meanwhile across the city, country and globe all manner of professional games were being played, and remarkably every single team in which I’ve varying degrees of investment engineered a loss. Here’s a roll-call of anguish: the Glenelg Football club, the Adelaide Football club, the Socceroos, the Wallabies, and at The Oval in London, where many years ago, we’d personally witnessed a grim result, the Australian cricket side. I should’ve bagged them all up into a hideous multi and had myself an unpatriotic if tidy earn.

But none of these irritants mattered on my birthday for there I was by a mesmerising fire with fruity ale, if not fruity conversation. Later, the dogs, Buddy and Angel, flopped on their beds and the last of the storm fronts rushed furiously by. Happily, there’d still be cheese for late Sunday afternoon.

With a sturdy click the back door was locked, and at least in my mind, I could hear the projected voice of a 1960’s publican bark across his dark bar, “Time, please.”

I was soon asleep.

willsy

0

Dolly v Kenny

kenny

On “Islands in the Stream” who provides the superior performance: Dolly or Kenny? Asking for a friend.

ShaunDolly in a close one.

Rebecca: Dolly totally – she set out to get him with a fine tooth comb. That is commitment!

Rebecca: Actually maybe that’s stalking!

Cath: Team Kenny!

Ali: Dolly!

Nicole: Not even a question…Dolly.

Sarah: It’s a duet?! Team Dolly.

MickeyI’ve just got off the phone with Kenny who’s pretty disappointed. Next year’s Adelaide concert is now cancelled!

Lois: Dolly, by a mile.

Mickey: And he wants back his fine tooth comb.

GregI feel obliged to dip my toe into this water. Kenny is without doubt the seemingly underrated star of this vocal conglomeration. He starts it. He finishes it. He loans it out in the middle a bit, but essentially, he owns the heck out of it. I know for a fact that Ernest Hemingway himself owns a ‘rough cut’ version of the track with none of Dolly’s parts…arguably the way it should be. I’m no chauvinist, but Dolly should be thankful she was brought along for the ride on this one.

k d

Nicole: Greg I thought you & I were heading towards a meaningful relationship based on our shared Sylvia experience…I have serious doubts now…just the mere mention of the song evokes the sound of Dolly singing her part…the words, the emotion…I recall nothing of Kenny’s part!

Greg: Kenny mentions islands and streams several times by my recollection. That is what he was*. I can’t vouch for Dolly, but he ‘had something goin’ on’.

MaurieI have a mate that goes fishing every year in March on the Murray. They all use small boats called tinnies with small outboards. Why do I mention this? The islands in the river are few, but I guess that does qualify for islands in the stream. The guys have special T- shirts each year and have a biggest fish prize. I guess my end comment would be they call the trip Tinnies In The Steam.

tinnies

Brett: Greg wrote “Dolly’s parts”.

Greg: Let it never be said that they were not significant parts, but could not quite cast a shadow over Kenny. And now that I think of it, with two Adam’s apples like that you’d think she’d have had a deeper voice wouldn’t you?

Peter: Neither have covered themselves in glory in my humble opinion. A passionless performance from both.

Rick: Greg, afraid you’re a little out in your assessment. By the time this duet was released Kenny was the biggest country star going around. Johnny had lost his touch. Merle and George were struggling. Charlie wasn’t recording. Kenny was riding high. His bland inoffensive MOR sold millions. Dolly was hanging in there (barely) based on her reputation and a couple of films. They record this Bee Gees tripe (Kenny recorded a number of Gibb songs; Johnny at the same time recorded Springsteen and Elvis Costello with no success). At the time Kenny was king of country, Dolly hardly allowed into the court. They toured Australia around this time or a bit after. In concert there was no contest. Kenny was good. But he was in his Las Vegas lounge period. He didnt even sing all of Coward of the County! That’s right. We didn’t get to hear, “and you could’ve heard a pin drop when Tommy stopped and closed the door”! Criminal mistake. Great voice, stage pressence but a lot of so what songs. Dolly was magnificent. Pure performer. A stand up comic, charmer, brilliant string instrument musician and that voice. Left Kenny and most others (including Porter) in her wake. She wins hands down. No contest. That is all. Cheers!

GregMy rebuttal is twofold: 1- Kenny had a better beard. 2. It would seem you’re basing all of your statements on facts and/or personal experience, and those factors have no place in any argument I enjoy being a party to.

Rick: And I’m still bitter about Coward! Cheers.

Mickey: Are you aware that Kenny is the name behind Asia’s favourite country music themed, family-friendly, roast chicken restaurant chain and that our five times married Texan baritone personally guarantees the quality of your meal? What has Dolly ever done for the global roast chicken industry? Just sayin’.

KRR

SarahC’mon, fair go. She may not be an Asian food chain but she’s doing her best. Her 6 reviews place her at 4.5 stars.

MickeyIn April 2008 South Bend, Indiana, radio station WZOW played the song continuously for several days on end, a stunt drawing attention to the station’s format change from alternative rock to adult contemporary.

Marc: Dolly by a mile.

Dolly

 

 

2

Round 7- Adelaide v Carlton: Come, Come Mr Bond

radio.png

 

We have radio wars in our car when the boys, wife and I travel together, and I’m annihilated, acoustically.

Despite my best attempts to provide a robust musical education, as the Subaru backs out of the garage, voices from the back seat holler, “Mum, can you put it on NOVA?”

Or, “Change it over to MIX.”

To which I respond, “What do you say?”

From behind me a reluctant, “Please” then chirps across.

MIX self-describes as, “Adelaide’s widest variety of music” but if there’s any truth in radio station slogans it’d be, “Adelaide’s widest variety of Pink.”

Saturday night viewing is providing similar conflict, at least for me. The footy is winning the battle, but only just as 9 GEM is showing all the Bond films, having started a month ago with Dr No which, given our youngest’s current oppositional defiance, is a domestic theme.

However in a rare nocturnal excursion, for the first time this season, I found myself on the bottom deck of the Chappell Stand, taking in the Crows and Blues. To alleviate any clash concerns The Blues are wearing their John Howard-inspired gray guernseys. Really? You’d find greater similarity in the vocal stylings of Taylor Swift and Taylor Walker.

gray

It’s a glorious autumnal evening by the mighty River Torrens – warm, still and clear. Both sides are missing many of their big names and given how many have moved between these clubs, out on the turf it must be like the first hour of a school reunion, you know, before the Brandivino works its liquid magic.

Carlton find space early and vital big rooster Kreuzer snaps to give the Blues their first, and only lead for the encounter. Adelaide then settles and slots the subsequent six with alliterative forwards Josh Jenkins and Mitch McGovern each scoring an appropriate two goals.

On TVs across the ‘burbs Thunderball is also away and SPECTRE has stolen some NATO bombs, and is threatening to destroy a US or UK city, later revealed as Miami which seems a little unambitious, given they’re working in the Bahamas. Why not be lofty in your aims and lob one at Luton, although, to be fair, it’d be difficult to tell.

In his first match against his former mob B. Gibbs (Bryce, not Barry) has continued his silky form and is accumulating possessions across the ground like MI6’s finest collects casino chips. During the break I get out my Texas Instruments calculator and start punching in cricket scores to see how far up the table the Crows will be by midnight. This arrogance guarantees the Blues (Grays) fightback is on.

boat.jpg

Skill execution errors, even from diminutive half-back assassin Rory Laird means the visitors enjoy a dominant quarter with some clever work from Levi Casboult whose hulking presence could be handy in Thunderball as things get desperate in the Aston Martin. The game is poised at the half and I get approval from our bank to undertake some Goldfinger action of my own: I buy a beer and some hot chips.

Any lingering tension quickly evaporates into the May sky as Adelaide registers a pair of majors in the opening minutes. Eddie Betts is involved, but his form and his season are simmering, not Bond-movie-speedboat-explosions, just yet. Footy itself has been strangely subdued thus far in 2018.

spectre.png

Mitch McGovern doesn’t so much mark the Sherrin as pluck it from atop the pack in a way that startles everyone. He elevates himself onto Liam Jones’ shoulders and completes the catch as if Q had lent him the famous jetpack. It provides some frisson on a night when the narrative arc is as predictable as a commercial radio playlist (Up next we’ve got some Captain Beefheart).

Cam Ellis-Yolmen continues his steady progress and is stringing together games in his much-interrupted career which began way back in 2011, when you could sneak your track-suited self into a Blockbuster and borrow Kung Fu Panda 2 for a fiver.

I admit it’s been a minor treat to see Carlton’s Cripps and Curnow in action. They’ll drive the Blues bus for the next decade, or half a dozen coaches, whichever comes first. Their win/ draw/ loss tally now reads:

007.

Despite another obligatory hamstring injury Adelaide moves confidently to the next instalment of the Showdown franchise next Saturday in the twilight.

There should be no televisual conflict with Casino Royale beginning just on the final siren. I best iron my new tracky-daks.

jetpack

 

 

 

0

Round 3 – Adelaide v St Kilda: The Noel’s Caravans/ Jock Cheese Cup

BREAKING-

Malcolm Blight to replace Neil Kerley as face of Noel’s Caravans

Green Fields, Adelaide, April 2018

In a jolt to the chummy SANFL-football-icons-turned-caravan-promoters-community Neil Kerley has quit his post as a spokesperson for the quality but affordable leisure vehicles that are available at Noel’s.

With the reggae-kitsch and ear-wormish jingle playing over the lot’s PA system Kerls barked “I’m cooked,” to the mob gathered among the Millards. The gnarled legend then elaborated, “From now on you’ll only catch me by the yabby-rich yet cotton-theft-ravaged waters of Walker Flat. Flogging caravans is a young man’s game.”

noels

Heir presumptive Malcolm Blight then took an Island Star twenty-one-footer for a spin about Noel’s substantial block, and upon returning frowned at the narrow corridor into which he had to back the van. He was heard to mutter, “I can’t get this in here,” and despite The Messiah and his towed entourage being eighty metres away, another, likely interior voice breathed, “Yes, I can. I’m Malcolm Blight!”

Onlookers attest that the ex-Woodville Woodpeckers star then neatly reversed the caravan to a parking space by the front office, just like a wizened Jim’s Mowing franchisee.

After decades away from Adelaide, we welcome him home and await his work with Noel’s. And Malcolm, watch those bunkers on the 18th at Glenelg, an emu couldn’t escape them.

*

Like the charismatic connection between Adelaide oval’s hot chips and the ever-newsworthy chicken salt, or early period Miles Davis and the popularisation of modal jazz’s harmonic rhythms, I can’t think of St Kilda without seeing Melbourne band TISM and their music video, “Greg! The Stop Sign!!”

Who can forget the footage of Saints (and Kimba) chap Shane Wakelin, alongside Justin Peckett and those anonymous others, pedaling their gym bikes? That this is accompanied by Beach Boys-styled vocals augments the sumptuousness, and as modern TAC satire’s most illustrious shot the camera then pans past various motivational signages festooned on the walls, including my eternal favourite: “Your (sic) a professional. Keep it simple.”

Screenshot (1)

*
Saturday night and with Blight, Kerley and TISM alumni, Humphrey B. Flaubert, Jock Cheese, Eugene de la Hot Croix Bun, and Ron Hitler-Barassi doubtlessly peering at the box (although probably not together) this fixture is underway.

Crow-for-life Mitch McGovern grabs and goals to get us underway but such is my remove from yoof that I can’t read his Anchorman moustache. Is it authentic, ironic or post-ironic? PM me if you can help.

For the Saints the aspirational housing developer’s dream Blake Acres (You’ll love coming home to Blake Acres) bends it too far at the other end. He’s lively early. While the Crows finished fluently last week they’re stuttering tonihgt.

Meanwhile the wife is watching The Bridges of Madison County. I trust Clint’s getting a few touches. Young Saint Jimmy Webster (was he in Goodfellas?) is also strong in attack, but the home side isn’t capitalising on their possession. Cam Ellis-Yolmen looks impressive around the ball, and his big body adds some grunt in this Crouchless knickers onball division. Meanwhile, Acres continues to be given too much space.

TISM

With daylight savings ended it’s dark at six, but still appealingly warm. I’m watching the game on a device on our patio, but somehow there’s more flies now than there were in January. I should light a mossie candle. I’d also have thought the Docklands seagull curfew to have passed but apparently not.

885 saints have been canonized by Pope Francis (2013–) during his pontificate and most of them (ignoring the five years after their death detail) have turned up to watch their eponymous side. There’s plenty of empty seats across the Docklands stadium so the miracle verification can continue apace.

Tom Lynch again shows his crystal vision and quick kicking which results in a major. He must be in the first six picked, every week. What if next year there’s two Tom Lynches in one side? Speaking of such, how lucky are we to have had so many Nathan Browns play AFL in the last decade?

Eddie finally opens his season’s account with a signature sequence of side-stepping and Sherrin-curling. With the earlier birth today of twin girls he’s had a surreal day in which life and footy have intersected in beautiful and complex ways.

Then, a Richard Douglas goal is reviewed to a behind because, allegedly, a subatomic fingernail particle made contact with the ball for a zeptosecond. Clearly, the physics is beyond me, but I’m sure these decisions are made using the Large Hadron Collider (LHC).

The second half starts and I wonder how Ron, Humphrey, Jock and co are. I wonder if Kerls is cooking some yabbies and how Blighty hit them today. Sweetly, I’m guessing.

Don’t let me down, Bruce, gets one for the locals and they seem primed. But then the game again descends to the mundane, despite the clear nihgt. Like the final hour of a bikie wedding reception this is untidy stuff, until Betts gets it out the back to break the tedium. JB is settling into his new commentating role. I’d argue he’s better than BT or KB or DK or SK or BJ or VB.

The Crows register three rapidly, and the complexion changes. Then, former Pie Seedsman applies an exquisite tackle and we’re five goals to the good. Tex, off a step…

I duck into the boys’ room and coax the youngest to put down his latest Captain Underpants book (No, it wasn’t based upon a Saints’ end of season trip). He’s had a big day.

During the denouement Eddie takes a hanger. The siren sounds. The kick’s skinny, and irrelevant.

MB

 

 

0

Like music? Like beer? Read this!

hay plains

Hay Plain – Julia Jacklin

It’s a rite of passage for many of us. Going from South Australia to Sydney and driving across the Hay Plains.

In the summer of 1989 old Kapunda mates Bobby, Swanny, Puggy, Pinny (not actually his nickname but it seems a shame to exclude him) and I drove it in a hire car.

It was a Commodore wagon with a radar detector we’d borrowed from local publican and iconoclast Puffa. It went, as your Uncle would say, like the clappers.

I’m sure we had other cassettes but I remember the B52’s Cosmic Thing featuring, of course, “Love Shack.” It was a fun album, but twice a day for three weeks became, for me, audio water-boarding.

cosmic thing

Around Coffs Harbour the tape somehow ended up buried in my suitcase. Someone, I suspect it was Swanny, solved the mystery of the Missing Cassette and rescued the tragic tape. On it went! Yippee. “If you see a painted sign…”

Every night all five of us slept in the same big room. At least one would sleep in his clothes. I can only guess at the olfactory horror of those murky, blokish spaces.

I’m pretty sure we ate KFC every day for about three weeks. It was like that alarmist documentary Super Size Me. I blew up like an inflatable raft.

KFC

Julia Jacklin is a great alt-country singer songwriter and her debut album Don’t Let The Kids Win features beautifully-crafted songs. “Hay Plain” is an atmospheric, plaintive number in which she uses her charismatic voice to engaging affect.

In it she makes reference to that iconic Sydney road, the Western Distributor. In 1985 on my first trip to Sydney with Trev, Chrisso and Woodsy in his Datsun 180B we stayed with a mate in Drummonye and used this road daily.

Right by the exit was a huge billboard with a giant image of a funnel web spider baring its metre-long fangs, warning people to avoid these horrific fuckers.

One night we got home and our old school mate Brendan, now peeling prolifically because of Bondi sunburn, yelled out, “No! We’ve been robbed. Someone’s stolen my cup of skin.”

Julia Jacklin’s on my list of acts to see and this clip from a show in Melbourne’s Northcote Social Club captures her warmth and talent-

https://www.youtube.com/watch?v=gf6YdmKIChU

Pleader- alt J

British indie darlings alt-J toured Australia late last year and old mate Brett and I went along to the Adelaide Entertainment Centre on a Tuesday. Tuesday being the convenient and traditional night for major touring artists to play in our little city.

Having avoided incapacitation by a Coopers Clear – surely the Trevor Chappell of this distinguished beer family – we ventured into the barn-like room and I was delighted by the crisp and punchy sound quality. The band were amazing unlike their set at Singapore’s Laneway Festival in 2014 when, dogged by technical problems, they sulked off stage mid-song.

singapore laneway

I texted Brett the day after the Adelaide concert and shared that I thought the final song of their most recent album was the highlight of our night. “Pleader” is a moody six minutes’ voyage with the opening three a foreboding instrumental before the last half of the track has a stunning choral outchorus, complete with agrarian imagery and biblical textures.

The accompanying video is inspired by the Welsh mining classic novel How Green Was My Valley? Among the unforgettable scenes is one with a landslide caused by the detonation of a WW2 German V2 bomb.

The vocals are distinctive and rarefied and the lush orchestration builds the sense of doom. Hugely impressive.

https://www.youtube.com/watch?v=RrhSJzM8NLE

Coopers Session Ale

Released mere weeks after the apocalyptic 1993 preliminary final in which the Crows choked after half time, Coopers Black Crow came into the market. This marked a spectacularly dismal month for crows, everywhere.

black crow

A mid-strength lager, it was massively disappointing, especially for an enthusiast such as me. It was named by public competition among significant fanfare. A more accurate name would have been Dead Cat Piss.

Bursting into the world last October was Coopers Session Ale. It is everything its feathery, deceased predecessor was not.

Tropical, fruity, and with citrus complexity beyond big brother the celebrated Pale Ale, it speaks of a lazy afternoon on a Pacific island. Marrying Galaxy and Melba hop varieties with secondary fermentation, it’s animated in the glass, a triumph of golden straw colour and fetching aroma.

Each and every Friday around 4.27pm I pay wave $12 at Gavin, mine host at the Broady and receive two crisp pints in return as the murmuring and the post-working week shuffling builds in his front bar.

I must mention that the packaged version is inferior, and humbly submit that the colossal Sparkling Ale is the only Coopers beer which is better out of a bottle, a bloody big bottle.

Still the Session Ale is a ripper. Perfect.

0

A Day on the Green: Getting Shirty

hi

If the great Australian play, Don’s Party, and the often-maligned film, The Big Chill, both concern themselves with university graduates a decade or so into their careers and juggling work, family, and reconciling fading student idealism and with their tarnished realities, then the Day on the Green music festival is also populated by a specific demographic.

These are about us Gen X types. For many of us, music in the 1980’s was unspeakably horrific, and post-2000, a little spasmodic if not disappointing.

The 1990’s were it.

So yesterday on the outskirts of McLaren Vale, as American grunge outfit Veruca Salt worked through their excellent set, we were sitting back on our chairs and watching all the punters and all their different band shirts. It seemed to be an unspoken uniform.

Anyhow, the wife suggested I make a list of the band shirts I saw.

Midnight Oil – Head Injuries and Great Circle tour edition
Bad/Dreems – making expertise use of the West End design
Fat Boy Slim
Rise Against
Cold Chisel- Adelaide 500 edition; sadly no East album shirts

BD

Frank Carter and the Rattlesnakes
The Living End – is it cool or even appropriate to wear a band shirt to their concert? Is it done ironically?
Ed Sheeran – this poor kid had obviously been dragged along by her parents!
Some band called Bintang – I think they’re big in Bali, specialising in Khe Sahn covers
AC/DC – For Those About To Rock
The Hard Ons – given the demographic, at future concerts they’ll be supported by rising punk stars, The Viagras
Tool – see above

dotg

Motorhead
The Clash – London Calling shirts; impossibly cool
My Bloody Valentine
ZZ Top
Nirvana – the smiley face version
Joy Division
Pink Floyd
Guns ‘n’ Roses
Cosmic Psychos – nice day for some beetroot

line up

Adam Ant – What do we make of this?
DZ Deathrays
Boony Army – great band out of Tasmania, lead singer a stout moustachioed cult hero
Green Day
Screaming Jets
King Gizzard and the Lizard Wizard

aa

Pennywise
INXS
NOFX
Foo Fighters
The Audreys
The Smith Street Band

ts

Old Day On The Green shirts – again is this cool, or sad? How would I know!
Sturt Football Club – I think they play the, wait for it, blues
Rage Against the Machine – male, middle-class and white
Pantera
Dropkick Murphys
Dandy Warhols
Metallica – not the Speed of Sound tour, as roadied by The Dude
Red Hot Chilli Peppers
The Darkness
Fred Pants and the Footy Pies – this one intrigued you didn’t it? I just made it up. But I’m going to get it printed before my next concert. I’ll be the coolest guy there.

clash

Quite a list.

Of course, I was sat there in a checked shirt, looking like an accountant searching for a water cooler. Maybe I could’ve worn my c. Marsh b. Lillee shirt.

Later, in the rain wandering through the crowd I had on a plastic poncho. A bloke yelled at me, “Nice poncho. You’ll never catch me wearing a condom!”

“Fair enough.” I replied, “But I’m trying to keep the stuff out, not the stuff in.”

Heading along the Southern Expressway (to home, not Yr Skull) I glanced at the dashboard clock, and said, “It seems like midnight! At this rate we’ll have to go to a Lunchtime on the Green in future.”

It was just after 9pm. “Or maybe Brunch on the Green,” replied the wife.

Meanwhile, let me know if you spot a Fred Pants and the Footy Pies shirt.

stones

5

Three Little Bops

bops
These phone calls only happened between 5 and 5.30pm, and when they did the excitement was unequalled.

Childhood friendships are hatched over countless connections, both pure and mischievous: footy, pinball, pinching cars, but for Trev and me, our lifelong pact came through 6 minutes and 41 seconds of televisual delight.

The Bugs Bunny Show aired on weeknights and for us its highlight was even better than Happy Days when Pinky Tuscadero was injured and out of the demolition derby thanks to the Mallachi Crunch, but Fonz still wanted to marry her; was even better than Blankety Blanks and Ugly Dave Gray’s jokes about Dick (Did Dick? Dick did.) and was even better than Lizzie Birdsworth’s daggy Wentworth antics on Prisoner.

We’d a simple code, the equivalent of “London Bridge is down,” and because of our urgency the conversations were spy-thriller brief:

-Hello?

-It’s on!

-Yep.

(Rotary-dial phones simultaneously slam down, and two teenage boys, in country-town houses about a kilometre apart, rush at their boxy Pye TVs)

The first impressive aspect of Three Little Bops was that I’d hear the Bill Haley-like jauntiness of the intro before I’d see those distinctive title cards (Director: Friz Freleng), and then with electric anticipation I’d shriek out to Mum or my sister Jill or whoever was in earshot as I tucked into a plate of Saladas with their vegemite worms slithering out in their salty, alien blackness.

title card bops

With a rollicking melody penned by the celebrated trumpeter Shorty Rogers who’d later offer musical direction on The Monkees, The Partridge Family and that supremely orchestrated buddy-cop series, Starsky & Hutch, it’s a song with rich resonance.

Released in 1957 within the broad context of Beat culture, the score is prototypical rock ‘n’ roll rather than jazz, and shares little with that year’s seminal album Kind of Blue by Miles Davis. Like so many memorable tunes its simplicity of purpose is genius while its execution is comic and engaging.

*

Beyond decades of personal bliss this cartoon once secured us (minor) fiscal reward. Late last millennium some mates launched a Schnitzel Club which met at a different pub every Wednesday, and among other vital mid-week pursuits, we ate schnitzel.

Once we descended upon the Arab Steed hotel in Adelaide’s east, and post-crumbed veal, lingered for the weekly quiz. Coincidently, this is my favourite question: Apart from AB who’s the only Australian Test cricketer to play in the 70’s, 80’s and 90’s? Answer: Peter Sleep.

Our laddish dining collective was an eclectic ensemble, but scoring modestly until this Round 8 challenge: How many keys on a piano? Although we were music fans none had technical insight.

crowd

And then as we murmured and frowned about our table, suddenly emerging into my frontal lobe from a Coopers fog, these lyrics from Three Little Bops appeared as neuronic sign-writing

Well, the piano-playing pig was swinging like a gate
Doing Liberace on the eighty-eights.

Who says there’s no gain in an (occasionally) idle life of miscellany? With this ebony and ivory insight, we came second, by a schnitzel crumb. Sometimes the jetsam of youth washes up on your adult beach, and it’s grand.
*

Of course, I maintain a persistent, entirely ridiculous fantasy during which I take up the rooster-like position behind a charismatic pub bar as mine host. Among my first landlord chores is to rename my boozer the Dew Drop Inn, because there is no better label in all hostelry

The Dew Drop Inn did drop down!
The three little pigs crawled out of the rubble
This big bad wolf gives us nothing but trouble
So, we won’t be bothered by his windy tricks
The next place we play must be made of bricks

*

In this masterpiece what are my treasured moments? There’s so many! The galaxy of my youth was brightened by these comets

Be very quiet. I’m hunting wabbit.
and
I knew I should have made a left toin at Albukoykee”

But the following is unsurpassed in its goldenness, although I didn’t then connect it to Liberace. When you’re a kid, drenched in cartoonish fun, context is sometimes nothing.

I wish my brother George was here.

The script and the vocals were by cult comedian Stan Freberg who’s credited on this, the only Warner Brothers film to not feature Mel Blanc doing voice characterisations.

Sixty years on, his remains a magnetic vocal performance ringing with muscularity and irresistible confidence. In that post-war cultural repositioning, his phrasing and delivery heralds American brashness and Rat-Pack cool.

A transformed fable, its essential familiarity lends it much charm. With the power migrating from the recast outsider wolf to the pigs, our trio goes from victims to smug porcine hipsters. Universally, we’re barracking for the wolf as he’s turned from predator to loopily-grinning fanboy, and villain to tragic hero. This narrative inversion generates much of the comic energy, and as our aficionado blows his sleek horn while broiling in a Satanic pot the final lyrics provide a catharsis

The Big Bad Wolf, he learned the rule:
you gotta get hot to play real cool!

wolf hot

As a ubiquitous pebble, this cartoon rippled into so many of my childhood spaces: the arithmetically-unresponsive back row of Year 9 Maths; the cold Mid-North showers of under-age footy; the endless roasting sun of Kapunda swimming pool summers. Our affection for it has flowed down the decades, and I promise myself to again locate it on YouTube, and show the boys. I reckon it’ll grab them too.

And soon, on a languid afternoon just after 5pm, I’m going to ring Trev and shout, “It’s on!”

plus one

7

NYE in Adelaide Oval’s Bay 135

ZD

I’m calling it.

My fellow lovers of confected cricket, we need a national conversation. I ask this plainly: why has the Zooper Dooper been banished? In case you’ve not heard, it’s been replaced by a chewing gum brand for the BBL wicket celebrations. Won’t someone think of the kiddies?

-Dad, it’s really hot here in Adelaide Oval’s Bay 135 for this important NYE fixture. Can we have a sugary iced treat?
-No, have a stick of chewing gum.
-But I’m dehydrated.
-Chew faster.

I’m also reminded of my favourite graffiti, seen on a condom-vending machine: This is the worst chewing gum I’ve ever tasted.

*

So, we’re underway in the traditional NYE 6.40pm time slot. Despite his early-tournament successes, former GWS Giant Alex Carey misses a straight one from Lalor. Shortly after fellow opener Weatherald also plays around one and travels back to the sheds.

Unlike Trump’s twitter-feed the Strikers are circumspect. When everyone’s favourite Colin, he of the tribe Ingram, comes out, all four batters have been non-right-handers. Thus far not a great evening for the sinistrophobics, and I wonder what’s the collective noun for left handers. A Hooksey, I decide.

Jono “Orson” Welles comes in, fresh from swiping a monstrous six at the SCG a night or two back, but he pops one to extra cover in a feeble dismissal which reminds me of PJ Keating’s description of John Hewson’s parliamentary performance: being flogged with a warm lettuce.

Lehmann the Younger contrasts with his dad who, despite his finesse, particularly against spin, always looked high-vis and Old Bushman Hotel front bar. With an ironic moustache upon his peculiar dial Jake is foppish and dandy; part Wolfgang Amadeus Mozart, part Adam Ant, part Caddyshack gopher. Metrosexuality aside, he is dropped first ball and then twice more in collecting a useful twenty-odd. Brisbane’s inability to hold catches would prove to be a significant difference.

*

Of course, the BBL isn’t only a cricket contest. It’s an ethnomusicological event with the between balls stabs central to the entertainment, but the playlist is now tired. I suggest themed evenings.

Sinatra

In the games leading up to Christmas let’s have only Yuletide tunes by the Rat Pack. What could be better than acknowledging a Bradley Hogg wicket than with an immaculately-phrased grab from a Frank Sinatra song? After all, they’re from the same generation.

Imagine the excitement of the punters gushing into the Gabba knowing that play will be punctuated with excerpts from Ripper ’76. Going from Supernaut to Sherbet to Split Enz. And to complete the experience why not get Molly to do the ground announcing?

But let’s also go beyond the rock and pop staples, to broaden the auditory appeal.

-Dad is it true? Is tonight Miles Davis night at Bellerive?
-Yes, it is son.
-The second great quintet featuring Herbie Hancock and Wayne Shorter?
-Of course! How could the Melbourne Stars now not win?

MIles

*

Michael Neser bats with intelligent aggression in assembling forty, including a lusty blow which lands in an adjacent bay. Impressive Afghan youngster Rashid Khan arrives with mere deliveries remaining, hits a six (I’ll never use maximum: oops, too late), but then holes out in what is surely the most eventful two-ball innings conceivable.

In our final over Neser skies one, and a volcano of Heat fielders converge, but with home-town luck running nicely, its lands, splat, right in the crater.

As is now tradition with the Strikers batting first, they’re about thirty runs short.

*

Returning to the Eastern Stand as desultory half-time rituals take place across the turf our eldest asks:

-Dad, it’s hot, can we have a Buckethead?
-But these offer no protection. As hats they fail.
-Please!
-No. Every time one is worn, somewhere a koala gets an unpronounceable disease.

bucket

*

Brisbane Heat has a menacing batting line-up: think Goodfellas with Kookaburra Kahunas, but tonight they’re the ones getting wacked. Within the opening over Brisbane loses a wicket.

Lynn in, carn Khan. Gorn! The Heat’s most exhilarating bat is dismissed for a Mr Blutarsky: Zero…point…zero to the quickish leggie who, three games in, has the competition spooked.

The violet sky then hosts fireworks from across the river/lake in Elder Park and the booms and bangs echo and shake the Gavin Wanganeen Stand, and I wonder if the batters notice these seismic blasts. When former Striker Alex Ross is bowled the scorecard reads as a distinctly Under 9’s-like 4/15.

It’s still light and there’s a chance the game could finish early. I hope not for Adelaide Oval’s fireworks during daylight would lack spectacle and pizzazz, like bringing out a brussel sprout birthday cake at a Macca’s party.

Curiously, Heat allrounder Ben Cutting is out cutting (caught at gully) in what must represent a major disappointment to his family. Still his is a bright innings while those about him fall meekly.

Jake Lehmann takes his second smart catch out by the rope to remove Brendon ‘Baz’ (I prefer Mungo) McCullum for an atypically sheepish tally.

Khyber-Pakhtunkhwa Province’s finest  strides out and playing the first ball Yasir Shah’s agonised leaping at the crease convinces me that he’s stepped on a piece of Lego.

Soon, it’s a numerically-attractive 9/90 and then all out. Tellingly, the Heat has not registered a single six. The Strikers head (sorry) to 2018 top of the table.

We enjoy the 1970’s disco funk medley and pyrotechnics and then drive carefully, west along Hindley Street.

alex poster

4

Ripper ’76

ripper 76

I admit that neither Dickens nor Shakespeare were on my early reading menu, but instead Enid Blyton’s The Secret Seven starring Peter- whom I’d now cheerfully describe as a wanker, along with Janet, Jack, Barbara, George, Pam and Colin. Truth be told, Scamper the English Cocker Spaniel remains the most likable of the lot.

secret 7

But, I also came late to Revolver, Blood on the Tracks and Exile on Main St. Among the weighty vinyl of my childhood was Ripper ’76. It’s the greatest ever compilation.

Beyoncé: And the Grammy goes to…Ripper ’76!

(Kanye and his So Fresh: The Hits of Spring squad storm the stage.)

You Messed About I Caught You Out

Suitably, Sherbet’s “Howzat” opens the batting. Garth Porter’s lush and languid keyboards invest it with a distinct 1970’s feel: all Sandman and Chiko roll. It’s a celebrated song, nevertheless the band’s finest tune, I’d argue, is “Summer Love” and yet, across their discography the tail is exposed prematurely, as Phil Tufnell bats at six, all bewilderment and eyes-shut slogging.

Of course, Sherbet’s lead singer Daryl (in Molly’s world folks had only one name) is now mostly known to liquefied crowds both at and away from Flemington for “The Horses.” Initially recorded by Ricky Lee Jones, one-time partner of unorthodox, but lusty ball-striker Tom Waits, it was co-written by Steely Dan founder Walter Becker who passed away earlier this year.

gatting

For cricket-themed albums may I present quirky British ensemble The Duckworth Lewis Method? “Jiggery Pokery” remains the finest song I’ve heard chronicling the Edwardian spectacle of the Gatting Ball. Richie may even have approved of this.

My Favourite Noosha

At track 7 is “S-S-S-Single Bed” by Fox. An enigmatic outfit, another of their songs is “If You Don’t Want My Peaches Don’t Shake My Tree” possibly reminding you of the lyrics in Steve Miller’s “The Joker” which itself references The Clovers’ 1954 song “Lovey Dovey.”

As sexually-charged fruit images go, this peaches motif has endured for many a season. Indeed, it’s always ripe for a-pickin’. Fox vocalist Noosha Fox is seen by some as a prototypical Kate Bush, but I’m unsure. I do think she’s my favourite Noosha.

Britpop had Oasis versus Blur while in Countdown Era (CE) Australia we witnessed the Skyhooks and Sherbet war. Closing out Side A of Ripper ‘76 is “Million Dollar Riff” by Shirl and company. Another Greg Macainsh tune about song writing, it’s driven by their urgent guitar and prickly irreverence. The battle of the bands? For me, Skyhooks made bigger cultural and personal impacts.

Side B blasts forth with the record’s penultimate track (of four) beginning with “Love” in the title as Billy Ocean sunnily accuses, “You run around town like a fool and you think that it’s groovy.” Talk to any veteran vinyl album and it’ll tell you that it ain’t easy kicking off Side B, but “Love Really Hurts Without You” does it as easily as a Sunday night bowl of Rice-a-Riso®.

Happily, it includes expert use of a tambourine. Forget Polywaffles, where have all the tambourines gone? Did Josie and The Pussycats nick them all?

Josie

This Song is a Social Commentary

Ol ’55 provided Happy Days-like fun, and Ripper ‘76 showcases their first single, “On the Prowl,” Frankie J Holden’s rollicking recount of a burglary gone awry. Though I prefer “Lookin’ For an Echo’ perfect for six-beers-in and hand-over-an-ear-backing-vocal-stylings. Both are also compulsory karaoke songs in a Clare Valley motel with old friends, to the auditory risk of all within earshot, and without.

But you already knew this.

A Chartreuse Micra-Bus

“Convoy” is homage to interstate truck drivin’ by William Dale Fries, Jr. (born November 15, 1928), best known by his stage name C. W. McCall. It was my introduction to the idiosyncratic, oddly-mesmerising language of CB radio, and by extension, the marketing might of Radio Shack.

When you’re next in an outback truck stop it’s on the dusty K-Tel cassette you’ve idly picked up while waiting for your dim sims and, depending upon geography, potato cake/scallop/fritter.

cassette

The album does feature a few Jimmy Higgs ducks such as the Silver Studs and a flaccid Bee Gees track, but for sustained value, I give Ripper ’76 four and a half episodes of The Paul Hogan Show.

Or for the kids, a Pitchfork 9.2.

Side A

Sherbet – Howzat

Maxine Nightingale – Right Back Where We Started From

Elvin Bishop – Fooled Around and Fell in Love

Silver Studs – Happy Days

Billy Thorpe – It’s Almost Summer

Thin Lizzy – The Boys Are Back in Town

Fox – S-S-S-Single Bed

Roxy Music – Love Is the Drug

Nazareth – Love Hurts

Skyhooks – Million Dollar Riff

Side B

Billy Ocean – Love Really Hurts Without You

Donna Summer – Love to Love You Baby

Ol’ 55 – On The Prowl

Bee Gees – Fanny (Be Tender With My Love)

Supernaut – I Like It Both Ways

Jon English – Hollywood Seven

Split Enz – Late Last Night

C.W. McCall – Convoy

Daryl Braithwaite – Old Sid

10cc – I’m Not in Love

PH

4

21st birthdays- good old Eagle Rock’s here to stay

IMAG0092

How great was that procession of 21st parties? Footy clubs, town institutes, trotting tracks, backyards and in my case, a cosy golf club. It was a time of fuzzy optimism and innocence and skinny leather ties. It was the eighties.

*

One lunch-time in the Kapunda Golf Club when we were nineteen Davo and I learnt a key life skill. An elder statesman of both the club and the community Gus Higgins lined up some glasses and began.

“Now boys, you want to keep it tilted. That’s it. Don’t panic, but snap it off quickly.”

Gus was teaching us how to pour a beer. We were excellent students. We wanted to acquire this universally-admired expertise so we could take our place among the men of the world, or at least those of Kapunda. His gentle tuition continued.

“Don’t over-fill it. You want to leave a nice head on the glass.” As Davo eased the West End amber into a butcher, Gus uttered his final, terrifying command, “Make sure you don’t choke it.”

This was a rite of passage. Happily, we passed. My 21st was another.

For my party, I recorded four TDK cassettes of music. Six hours’ worth. Much like Rob Fleming making a mixtape in High Fidelity I saw myself as an artist who was curating an artefact of considerable beauty. If this is possible with The Bangles’ “Walk Like an Egyptian.”

IMAG0093

The tapes are long gone, but I remember the Hoodoo Gurus featuring prominently, especially “Like Wow – Wipeout” with its urgent rhythms and connotations of Sydney beaches and oddball Australian off-spinner Greg Matthews. Johnny and June Carter’s “Jackson” was on there too, as I loved, “We got married in a fever, hotter than a pepper sprout.” When Bob Dylan’s “Like A Rolling Stone” played there’s a youthful, exaggerated drawl as we sang along- “How does it feeeel?” And we didn’t really know, for we were twenty-one.

IMAG0085

I was also a fan of sixties music, mostly British bands like the Beatles, the Stones, and the Kinks, so this became the dress theme. My dear friend Trish designed the hand-drawn invitations. On the night, much paisley and purple swirled about the brown timbers of the club house. Wide ties flapped. Nick came as a blonde Mick Jagger, complete with Union Jack flag flowing behind him as he strutted about the bar and dance-floor, most notably when “Jumpin’ Jack Flash” blasted the room.

IMAG0082

Woodsy made a VHS video of the night including the speeches. Mick Dermody told a joke with the punch-line concerning train passengers pooping in each other’s shoes, but said some lovely, touching things too. I made exactly the speech an unworldly country boy would make.

Woodsy and CAae

In the photo album there’s happiness and smiles, but sadness too for some of these people are gone, and some have drifted away. I think of the Australian writer Tim Winton who views life as a series of corridors of time and space. And then we or they move through a door.

IMAG0089

But what a fun corridor this was. Not a school kid anymore, but not really yet an adult either. At uni and on the cusp (cups). A honeyed place in which you’re finding your way, and the world’s opening up, beyond the dusty town you call home.

IMAG0091

“Eagle Rock” was a preposterous badge of this confidence, this unarticulated need to separate ourselves from the generation that came before. There’s a belief that this tradition originated at the University of Queensland and migrated to South Australia. My first recollections of it were from 1985, at a St Anne’s College toga party with Rocket and Stolly and Harmesy and others.

IMAG0088

This Daddy Cool classic saw you instantly crowding in a circle, dropping your trousers and then swaying along to the song with your Levi’s bunched down over your Adidas Romes and dragging onto the brandy-sticky carpet.

IMAG0086

 Of course, it doesn’t stand up to modern scrutiny. It does, however, have an undeniable tribalism, even an evangelism that functions as a crude declaration of independence. But these broad churches held no salvation for some of the older adults who departed soon after, grim-faced and steering their Holdens north.

Around breakfast on Sunday the cold sun bent through the windows and the captain came in. Some of us had slept on the floor. I was near the honour board, as near as I would ever get, under one of those brown, laminated tables that’s compulsory in country golf clubs. Watto simply announced, “You’ve got an hour to clean up before the first group tees off.”

I stood up and adjusted my tan velour tie. I started picking up beer glasses.

19

Philip Road, Elizabeth- Holden cars and me

HR

There was still a post-Coronation glow across the Commonwealth when Holden started making cars in Elizabeth, just north of Adelaide. Indeed, our Queen had only been in Buckingham Palace for a few years, and with this respectfully in mind, those mapping the satellite city instead decided that the thoroughfare next to the car manufacturing plant should be named Philip Highway, Elizabeth. I guess Philip Road, Elizabeth was a bit horizontal in tone, especially in the 1950’s.

I’m not a petrol-head, but as a country boy, I was always going to buy a Holden for my first car. Purchased from solid farming folk near Greenock, it was a pale blue HR Holden complete with two-speed Powerglide. It had razor-blade thin tyres, which had the unfortunate habit of prolonged squealing as I gently rounded a corner, or accidently drove in circles at the intersection just up from the Kapunda Pizza Bar. Prior to buying an FM radio, for my driving pleasure I had a portable cassette player and a kazoo. The HR’s registration was REM-097.

Part way through my degree I upgraded to the model I’m confident was made in greater numbers than any other at the Elizabeth plant: a HQ Kingswood (white). In our little country town, there must’ve been twenty of these, and they were mostly driven by us young fellas. Sometimes there’d be three or more of these in a diagonal row, outside Nugget’s Clare Castle Hotel*, late on a Sunday. Owning one seemed almost compulsory, and it functioned as a type of vehicular uniform for our silly army. Its rego was UXA-100.

CCH

For a few months, my friends commuted to uni and back with me. Claire and Trish* were Abba fans and musical theatre devotees, and I now confess that I took fiendish, even megalomaniacal delight in controlling our musical accompaniment. They’d holler, “Put on the radio” and “We want SA-FM.”

Deaf to their words, I’d then lean over and pump up the volume on a ten-minute blues song like, “Key to the Highway.” Somehow, we’re still friends.

Nineteen. There may well be an age at which Australian males are more stupid, but I doubt it. With sudden and inexplicable urgency one Friday night, when I was barely nineteen, three friends and I decided that we needed to race down to one of the Kapunda main street’s four pubs (or possibly, all of them).


So, we left the home of the mate that for legal reasons I’ll refer to as Woodsy* and failing entirely to navigate the dirt road behind Kapunda High School, my left fender prised open about twenty feet of the corrugated fence like it was a tin of Whiskers*. The car came to an immediate halt. Our friend was studying electronic engineering at Adelaide uni, so I said, “Chris*, you’re smart, fix it!” He couldn’t.

Subsequent crash analysis revealed a major cause being the HQ Holden’s front bench seat on which, for now obscure reasons, all four of us were, for want of an ergonomically accurate term, sitting. Apparently, this lack of physical space made it difficult for the driver (me) to successfully operate the steering wheel.

Later, another mate, Crackshot* remarked that despite it being only eighteen months since I’d somehow won Kapunda High’s Paul Giles Memorial Prize for Character and Leadership, I still clearly wanted to make a lasting mark on my former school. Under the cold light of Saturday morning, in grim conversation and looking at my Adidas Rome-d feet, neither the headmaster nor the town’s police officer, saw my yearning for scholastic legacy as a legally relevant issue.

The final Holden I owned was the most expensive of the three, and certainly the least likable. Heading off to the West Coast to teach I bought a VK Commodore from Hage’s in Tanunda. It drove well, if thirstily, but the stereo was terrible and the front speaker rattled like buggery whenever I’d turned up a tape, like Billy Joel*. Billy deserves better.

One evening after a prolonged cricket fixture and raffle-ticket selling duties in the Wudinna Club, the VK batted last and was dismissed, run-out by a Ford at a railway line on the road back to my farmhouse accommodation (I wasn’t driving). After extensive rehabilitation, during which I drove Jock* and Snook’s dune buggy, I sold it.

I didn’t know it, but my relationship with Holden’s was finished. I’m unsure whether I’m yet to have my mid-life crisis, or if I’ve been having one all my life, but I often think that one day, I’ll buy myself an EH Holden.

I might even take it on Sunday drives, and do a lap of Kapunda High.

Thanks, Holdens.

 

*names not changed

HQ.png

  

0

The Killers in The Taminga

party pies

AFL Grand Final morning is fantastic. Buzzing expectations, glancing yet again at your watch, and finding stuff to distract the racing mind. At this point my cousin would apply Sparkling Ale, but today we choose modest exercise.

It’s cool in the Clare Valley, and the sun’s out, and the trees and the fairways of the golf course burst with warm promise and stratospheric, if fragile, hope. We only play nine holes, so we don’t need a lunchtime Zimmer or gopher. I take it as a minor omen that I don’t lose my ball.

The town has three pubs and these are, of course, the Top, the Middle and the Bottom pubs. Australians really do enjoy a rare and efficient grasp of geography. With an alluring alliterative splash, the Bottom is also the Bentley’s, and the Top is, yes, you guessed it, the Taminga.

Our tables were by the open windows overlooking the street, and as the breeze dashed in and out, we could see trucks and utes, lazily circling the roundabout. Opposite was Pink’s Mitre 10 Hardware, and I was fearful that this sleepy winery village had been invaded by that dreadful wailing popster. Imagine my relief upon learning that the Pink family has run their store for six generations, and never released a hideously overwrought album of faux-feminist tosh.

pinks

In order to set the afternoon’s rules of play I said, “What do you reckon? Every time Bruce (the match commentator) says, ‘clever’ Mozz has to woof down his beer.”

All agreed, except for Mozz.

In truth, drinking games are best left in our juvenile past, and we quickly recognised that no earthly good could come of my idea. Plus, there was the after-dark, safely back in our room, Karaoke to follow, and we had Ol ’55, Glen Campbell and the enormously patient Neil Diamond to cheerfully demolish.

Is there anything that generates such excessive expectation as complimentary party pies? No, of course not. And there were also wedges put out by the bar staff, but these conglomerates of oil and mistreated potato put me in mind of a semi-mythical fat-berg, easing along a London sewer in a decidedly sinister fashion.

Don’t you love suddenly remembering a great song? One you’ve not heard in a while? The pre-match entertainment was American band The Killers who I’ve always admired. Their fifteen-minute set was a treat, in contrast to Meatloaf, universally known as the evil mastermind responsible for the “Massacre at the MCG.”

But it’s only at the post-game concert that they played their finest song, “All These Things That I’ve Done.” Included on their 2004 debut Hot Fuss, it’s a classic of heartland rock. For days now, I’ve had it on repeat at home, in the car, and for personal health reasons, at work.

It reminds me of U2 from their Joshua Tree era, when they were the mightiest band on the planet. There’s a rousing intro which is reminiscent of “Where The Streets Have No Name,” as the pounding drums and catchy guitar conjure an anthemic boldness, and a soaring gospel quality.

Like so much of Bono and band’s output, it’s about the seeking of redemption.

I want to stand up, I want to let go

You know, you know; no, you don’t, you don’t

I wanna shine on in the hearts of man

I want a meaning from the back of my broken hand

Now, Bono is largely a git wearing glasses around the clock, but for two decades the Dubliners were remarkable. They combined words and music with singular mastery.

As the Sweet Inspirations choir bursts to joyous life on the refrain- “I’m got soul, but I’m not a soldier,” I’d love to be at a huge, summery football stadium when the crowd sings along, with front man Brandon Flowers waving his microphone at the bouncing masses. A sign of modern esteem is parody, and the British comic Bill Bailey once pronounced in response to The Killers, “I’ve got ham, but I’m not a hamster.”

“Mr Brightside” may be more popular, and a track on which Richmond Tigers star Jack Riewoldt guests, but “All These Things That I’ve Done” is a stirring song that takes me to splendid places.

Places offering party pies, for free!

Taminga

1

Meatloaf: Horrific Fun at the 2011 Grand Final

meat

I dare you to watch it.

Appropriately, the execution opened with “Hot Patootie” from the Rocky Horror Picture Show, a title more representative than commonly possible, as the following quarter hour is hide behind the couch, can I come out now Mum dreadfulness.

Meatloaf presented early, and sitting in front of the mercifully miniscule 42-inch screen, I wondered if John Farnham might’ve been lured from his retirement tent for the aural health of our nation.

“You Took the Words Right Out of My Mouth” was next, with a terrifyingly extended outchorus during which Meat alternately surged ahead as if gasping for the Kool-ade, and then inexplicably dropped back a length behind his band. By its conclusion all in earshot wished they could, somehow, insert those mangled words right back into the rotund Texan’s mouth.

Tellingly, the band all had their sunglasses on, as if wishing for anonymity, and to escape this netherworld, courtesy of a Star Trek teleporter.

I must point out that I reckon Bat Out of Hell is a remarkable rock album. For many it’s the music by which they first stole a kiss, or turned the key in their own set of Holden wheels. That something like one in every dozen Australian homes owed a copy isn’t a surprise.

But, to suggest that a gap exists between that exhilarating vinyl and this afternoon at the MCG is like noting how John Howard’s bowling action doesn’t quite offer the elegance of Glen McGrath’s.

Flanking the stage were two giant Carlton Draught inflatables. How must those CUB executives have felt watching that? The music was more Death Valley-aged Budweiser than passable domestic brew.

meat 2

I’d Do Anything For Love (But I Won’t Do That) then polluted that grim, little stage. What do we make of its central theme which speculates on the very limits of human endurance? Happily, there was no Kiss-Cam that day. Scream at an Elderly Relative-Cam might’ve had the broadcast director paralysed for choice.

Our vocalist seemed to be playing a perverse game of anti-bingo in which he was determined to not sing in the correct musical key. Mr Loaf clutched a Magpie scarf as if this would help, and from this moment, a Cats’ victory was certain.

In the corner of the screen the Channel 10 logo featured proudly throughout, and anthropologists and financial analysts have since traced the network’s woes back to this thirteen-minute microcosm of existential pain.

On the Classic Albums documentary series, the composer Jim Steinman explained how, “Bat Out of Hell” was conceived as the ultimate car crash song, following in the tradition of “Leader of the Pack” and “Dead Man’s Curve.” Watching that afternoon, I wondered about life imitating art, or was it life imitating life, or art imitating an open sewer?

By the stage you could see a throng of spectators all wearing orange caps. In Buddhism, orange is connected to vitality and illumination, but I suspect if actual monks had been at the G, even they may have erupted into sudden and colossal violence.

How jealous must the crowd have been when the Harley motorcyclists, musically and thematically, so central to this song, rumbled off down the players’ race? They were paid to speed from the arena, and the sonic strife warbling about its unhappy bowl!

Towards the end Meatloaf received an oversized prop, and squinting at the screen, it appeared to be an enthusiastically circumcised penis. On it is a trigger of sorts. He handled this briefly, as it were, but then abandoned it, perhaps realising, along with the rest of the audience, both immediate and televisual, that today, there’d be no climactic finish. Indeed, if you listen carefully to veteran AFL announcer, Craig Willis, you can detect the tiniest irony, in his stentorian thanking of the Wagnerian rocker.

As Channel 10’s Stephen Quartermain then cuts to a universally welcome block of vacuous advertising, he comments that Meatloaf was, “Extraordinary.”

Aside from “Leo Barry. You star!” this is his finest moment.

Go on, I dare you to watch it.

https://www.youtube.com/watch?v=XZdiaFXW2U8

 

0

Friday’s for funerals, Saturday’s for brides: Tex, Don and Charlie

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As an unreconstructed country boy, I love a stubby holder. So, last night at Adelaide’s premier live music pub, the Gov, my pace accelerated as I approached the merchandise table.

T-shirts. CDs. Vinyl. Yes, yes. What’s this? Coffee mugs. Fair enough, but where’s the stubby holders? Then I saw it. A linen rectangle. A Tex, Don and Charlie tea towel. Ah, my first ironic tea towel. I considered. I could, I guess, use it to dry my Wagga Wagga souvenir spoon (ironically purchased too).

Tex Perkins has a massive voice, an instrument of booming sonics and attack. Doubtless, others could tell me if it’s a baritone or bass, but I do know the timbre is entrancing. If human voices can possess a narrative then this one plots panther danger, underworld trickery and tropical heat. It reminds me of Captain Beefheart, and those monochrome images of Bikini Atoll or Maralinga nuclear blasts. When singing, he doesn’t adopt the central personas so much as become possessed by them.

Fittingly, we’re in a pub for these are pub tales, and my only regret is we’re not suspended on stools, in a wobbly circle, and nodding over beers at our sage raconteurs. The songs of Tex, Don and Charlie have incontestable gravity and lonely geographies. The music slinks through inner-city grime, but mostly slouches in the dust and dusk north of the Tropic of Capricorn, and owes a debt to the 1950’s and our cheerful beginnings of despair.

Don Walker sits at his keyboard, his silver mane flopping in time, while his voice is a diverse instrument. At its most intimate it absorbs and pacifies, but in the upper register, it can fall into Willie Nelson parody. His gifts are his words and his stories, and in these rests an unrushed economy, and a vernacular deep with hot tears, smiles and snug hearts. Beyond “Flame Trees” he wrote “Harry Was A Bad Bugger.” Don’s an icon.

Phantasms drift about the Gov, and I think of Tom Waits and his tunes, all swarthy menace and ragged swagger. I think of Bruce Dawe and his depictions of rural lives, wrecked. Spinifex and scrub. Lyrical and parched places; ferocious light, sky. There’s landscapes in the soundscape. I think of romping observation, but also agedness and its introspection, prowling upon me.

Into this evening, I imagined Charlie Owen’s guitars. Plaintive acoustic, spiralling lap steel, his elegiac electric. Barely speaking, but with boyish enthusiasm, he paints our stage. With splashes of surf, we move along his removed beach. As if to counter these sparse yarns, and our collective flouting down at the dread, his strings urge the joy of the quiet minutes.

I come away into the windy midnight troubled and exhilarated by cold grey Saturdays; brokenness; Tex’s denim jacket bouncing like a St Kilda uniform; the black and white tableau of a double bassist; mosquito nets; sharks at funerals; Elvis; deliciously tired and unfussy drumming; eulogies; paychecks and gratitude.

spinifex

 

 

2

Weirdness and Tom Waits

TW

I love Tom Waits. His music is a dark world and explores life at, and beyond, the margins. It’s rich and frightening and funny. I wrote a short story based upon his classic from the album Mule Variations called, “What’s He Building?”

*

Well, the house is nearly prepared. The windows are fixed, and the leak in the cellar is patched. I pulled up the grimy carpets, and treated the ironbark boards, and now during clear mornings, with the sun rushing through the skylight, their flaxen warmth reminds me of the timber floor in our old house.

Our old house.

The street is quiet and pretty. As they’re keeping a respectful distance I’ve not met any of the neighbours. Their properties are modest with immaculate lawns, hedges and solemn, reassuring facades.

Up on the corner, by the reserve, a car’s parked in a driveway. It is the identical colour and model as Jane’s old car, remember that horrible burnt orange? Can you believe this? I wonder what happened to that Datsun. It defined her in so many ways. For many people, a car is just a way of conducting life’s business, an economic necessity in which no personal investment is made, or creative expression is given. But even the dents on the doors echoed Jane’s cheerfully chaotic outlook on life. I’ve never seen someone abuse a gearbox like that! Long before you’d see her you could hear her coming down the road.

I’ve enjoyed working on the house. It’s been calming. Rejuvenating. Dare I suggest remedial? Some heaven-sent physical exertion, during which I’ve used muscles ignored for years. It’s been a transformation from living primarily in the spiritual. I’m finally beginning to understand what Bill meant when he’d say, “People shouldn’t live too long in a single house.”

peering

The front yard might one day become a garden. The shrubs had been pruned towards an irritable death, and they’d been left a crazed mess like a bad Picasso. All jarring angles and stunted, agonised shapes that surely have no place in front of a humble bungalow. A faithful priest, every evening in the fading warmth I’ve been watering them, and some tiny green shoots are emerging; emerald stars in a scorched galaxy.

A man from the telephone company came by just after lunch, and said that the line should be operating by the end of the week. That’ll be good. Another little victory. Isn’t this all we can hope for in life: a succession of little triumphs? Do you think I could call over the weekend? I think I’ve got your number in one of my notebooks. If not, I’ll phone Bill to get your number. He’s sure to have it. He is so very reliable, he’s mechanically sound.

Hidden beneath a sheet in the garage I found an old barbeque. It must belong to the former owners, so given what happened there, I guess it’s now mine. Feeling thrilled with this slight surprise, I took it out the back by the rainwater tank, and hosed it off. Some spiders scuttled off across my lawn while the muddy water cascaded off the metal like toxic rain. Later, the barbeque hissed and spat like a gruff football coach, and cooking my meal, I heard a dog barking in the middle distance, from down near the creek. Its yapping seemed to protest a catalogue of sharp disappointments.

As the dark fell upon me I ate the meat. I thought about how quickly life can change, like an earthquake rumbling up from a previously undetected fault line. The cruel seismology reminding us, as if this was its only function, of how suddenly jolted people can be. Just like spiders sent from a private space, into an unexpected world. I had the radio on and that new song by the Beach Boys came on. God Only Knows. Such symphonic melodies, and handsome singing, as it extends its love, like a heart attack.

I wheeled the ticking barbeque back into the garage, and like a ghost made corporeal, put the white sheet back over its exoskeleton, and went into the house. Washing the dishes, I looked out my kitchen window. Above my fence the neighbour’s back light was on, and it shone warmly, stupidly into the velvet.

I was ready.

Boo