AUSTRALIAN ROAD CREW

THE COLLECTIVE BACKBONE OF AUSTRALIAN MUSIC

Access All Areas

redgum front 640

road-case 200

Support Our Sponsors

Who's Online

We have 4215 guests and no members online

The Australian Road Crew

Latest News

NEIl FINN LIVE Solo at the Seymour Centre 2010

NEIl FINN LIVE Solo at the Seymour Centre 2010
                   BLACK BOX           relief logo         desk tape series logo

NEIL  FINN LIVE

 

SOLO AT THE SEYMOUR CENTRE 2010

TAPE TO BE DROPPED OCTOBER 1ST

Neil Finn Live, Solo At The Seymour Centre 2010, is the eighth release of the Australian Road Crew Association’s (ARCA) Desk Tape Series.


Neil Finn 01
The tapes are straight out of the mixing desk and made by a member of the road crew. In this case it was by Angus Davidson who did front-of-house sound for Neil Finn and Crowded House.

The series was created by ARCA to raise funds and resources for Support Act’s Roadies Fund to provide financial, health, counselling and well being services for crews.

The tapes are released on the association’s Black Box Records through MGM Distribution and on all major streaming services.

Thanx for the cover artwork by Nprint, the mastering by Phil Dracoulis, and Neil Finn for his support of crew.

The Neil Finn Live Solo at the Seymour Centre 2010 desk tape and all of The Desk Tape Series will be available through:

https://ffm.to/neilfinnsolo2010      (paste into your browser if it fails to load)

iTunes
Apple Music
Amazon
Spotify
YouTube Music
Google Play
Pandora
Deezer
TIDAL
Facebook
Instagram
TikTok

In late 2010, when Neil Finn played an intimate solo show in the York Theatre at the Seymour Centre in Sydney, he took the opportunity to say hello to some old friends from different parts of his life.

From the stage, he told the sold-out 800-strong audience, “I thank you for joining me tonight and allowing me to pass through a few eras and a few songs that I don’t get to play very often because it’s a very joyous thing for me. “

Ten years later Finn has nothing but great memories of that show, and of that trip down the time tunnel.

“I remember it fondly as a great room and an audience that was leaning forward and listening to every word.”

There was no specific reason about what it is about those old friends he needed to bring up onstage and breathe new life into them.

“I just made it up backstage an hour or so before … I can’t remember what sparked each choice.”

Having built up a loyal following with Split Enz and Crowded House, Neill Finn was able to dig into darker and more experimental themes on his solo albums.

“I am truly blessed,” he says of his audience’s willingness to come on his different journeys.

NF06b1


Neil Finn’s songs have appeared everywhere – band albums, solo records, documentaries, movies, and endless collaborations.

But he is at pains to point out that he doesn’t write for projects. Rather the songs emerge and land where they may.

The Seymour Centre saw the songs blend into each other, as Neil switched from guitar to piano, and infused the proceedings with humour and with wry quips like "Is it contradictory we’re in the Seymour Theatre (sic) and there’s no Nick Seymour?” and bringing up an audience member (Adriano) to play two-finger piano with him during ‘Anytime’. Brilliant.

Representing the solo albums are stand-outs like the melodic ‘Into The Sunset’ which Neil describes as “a literal inspiration sitting watching the sun go down at Piha (a beach on New Zealand’s north island) after a long time away."

Not so literal are the numbers which have had fans debating about what he means.

One interpretation of ‘Try Whistling This’ is that Neil is ‘fessing up to turbulence within Crowded House and cites a well known incident when an emotional Paul Hester in heels had an altercation with Finn.

‘Faster Than Light’ could be inspired from Neil putting one of his sons to bed, gazing at his face and imagining what his future could be, and giving him prize advice, “Travel faster than light. In time you'll recognise that love is larger than life.”

Other solo songs include ‘She Will Have Her Way’, ‘Love Is All That Remains’ which strips off all its original psychedelic tones, ‘Wherever You Are’ about being homesick and ‘Spirit Of The Stairs’ abut the end of a relationship “and you wish you’d said the things you should have.”

The fans get a treat with a version of Crowded House’s’ Something So Strong’ the way he had originally written it, with up-tempo guitar and a rockier feel, inspired by waking up in a dark and quiet space and wanting comfort.

But in the studio, while cutting Crowded House’s first album in 1986, producer Mitchell Froom suggested it would be more effective with a R&B approach – which led to its becoming a Top 10 hit in Australia, the US, Canada and New Zealand.

There were other dips on the night into the Crowded House catalogue including ‘Fall at Your Feet’ and one he regards as one of his best songs and one which he loves performing ‘Don’t Dream It’s Over’.

Even when he goes back to the Split Enz era, he performs the songs with a vibrancy and with his voice still as strong as ever

The Enz songs include ‘Message To My Girl’, written for Neil's wife Sharon whom he married in 1982 and given a special cheer by the audience, ‘One Step Ahead’ which he was always surprised was a hit (it "hasn't got a proper chorus”) and ‘Hello Sandy Allen’ about the time he met Sandra Elaine Allen, “the tallest woman in the world” (she was 7 feet 7 inches or 231 cms) at a talk show in New York.

For the Seymour date, the songs pulled from the Finn Brothers catalogue are the gospel-influenced ‘Gentle Hum’, an excerpt of the loping ‘Only Talking Sense’, ‘Anything Can Happen’ and the brooding ‘Last Day of June’ with its lines like ‘The so called third dimension/ Hardly deserves a mention/ The first and second stages/ Have been confused for ages.”

Of the many accolades and awards that Neil Finn has had since he stepped into the public spotlight as a teenager, the most powerful was when George Harrison reportedly remarked that "That Crowded House played the music The Beatles would be playing if still together."

Neil Finn Live (Solo) At Seymour Centre is a sparkling testament to a great performer and songwriter still at the top of his game. Inspiring.

ARCA would like to thank the following sponsors of The Desk Tape Series:-

          Sponsor                 Industry Roles 
          Showtech                Rigging                             
          CMI                         P.A and Production                       
          Clearlight                Lighting                                      
          DSE Trucks            Transport                                    
          Scully Outdoors      Outdoor Production            
          Gigpower                Crewing and Staging                           
          Lock and Load        Crewing                            
          Chameleon Touring  Production and Lighting                     
          JPJ                          P.A and Lighting                                 
          Novatech                 P.A and Lighting      
          Phaseshift               Lighting                                      
          Show FX Australia  Pyrotechnics                      
          Event Personnel Australia    Crewing
          Norwest                  P.A and Lighting Production
          Nprint                     Artwork

Ian Peel and Adrian Anderson
ARCA Co-founders and Directors.

Note from founders:-

"ARCA and The Desk Tape Series is a small way we can help our mates get some self-worth and recognition for their contribution to the Aussie music industry and help if they are in crisis. It is a great honor for us to be able to present these memories to all."

All Hail Roadies and Crew

"Looking after OUR OWN with FEELING and a WHOLE LOTTA LOVE"


All enquiries contact :


          Adrian Anderson     0409 789 440

          Ian Peel            0415 667 221         
Continue reading

GOANNA Live at Canberra Workers, 1985

GOANNA Live at Canberra Workers, 1985
 
GOANNA


Live at Canberra Workers, 1985

 

Tape to be dropped September 1st


GOANNA, Live At Canberra Workers Club, February 8, 1985 is the seventh in the Australian Road Crew Association’s (ARCA) Desk Tape Series.

ARCA established Black Box Records as the platform to promote each release, with MGM Distribution providing worldwide distribution.

The series was created by ARCA to raise funds and resources for Support Act’s Roadies Fund to provide financial, health, counselling and well being services for crews.

Thanx to Shane Howard/Teresa O'Brien at Goanna Arts and Nprint for the cover artwork, the mastering by Shane Howard and GOANNA for their support of crew.

The Goanna "Live At Canberra Workers Club, 1985", is a desk tape, a cassette of the live mix, recorded by the band’s Front of House audio engineer, the very capable and talented Mike Emerson. They were, first and foremost, live mixes done for a live audience and the band would listen back to the live tape on the drive to the next gig the following day, in an effort to constantly improve the live shows. They weren’t made for commercial release.

It follows acclaimed tapes from Redgum, TISM, The Captain Matchbox Whoopee Band, Jo Jo Zep & The Falcons, Australian Crawl and Men At Work.

The GOANNA LIVE 1985 tape and the Desk Tape Series will be available through:

https://ffm.to/goannaliveatthecanberraworkersclub1985 (copy link into browser pls if it fails to work)

iTunes
Apple Music
Amazon
Spotify
YouTube Music
Google Play
Pandora
Deezer
TIDAL
Facebook
Instagram
TikTok


The folk-rock Goanna Band, as they were first named, were formed in 1977 by singer-songwriter Shane Howard in Geelong Victoria.

With an ever-changing line-up, the band steadily grew in popularity with hard touring.

In 1982 they exploded into national and international success with ‘Solid Rock’.

The classic was inspired after Howard’s emotional and eye-opening ten-day camping trip to Uluru two years before, and the album Spirit Of Place which reached #2 in Australia.

Live At Canberra Workers Club captures the bridge between Spirit Of Place and the follow up Oceania, which was released in April 1985.

The band lineup was :-

Shane Howard: Vocals & Guitars
Rose Bygrave: Vocals & Keyboards
Marcia Howard: Vocals & Keyboards
Peter Coughlan: Bass Guitar
Robbie Ross: Drums
Mal Logan: Keyboards
Brian Holloway: Electric Guitar.

They lived as a collective in a two-storeyed house which they called Goanna Manor, and operated as a social democracy between the musicians, management and road crew.

The Canberra tape captures the triumphant note of the songs on the first album, and the step forward in Oceania, which they had just recorded in America with Bill Payne, keyboard player and songwriter with US band, Little Feat.

Some of the new songs like ‘Common Ground’ and ‘Dangerous Dancing’ were previewed on the tour. Although not as big a commercial hit, a revised version of Oceania was released in August 2020 on their Goanna Band website.

Howard’s body of work, both with the band and acclaimed solo albums, saw him appointed a Member of the Order of Australia In 2016.

SHANE HOWARD RECALLS THE TIME OF THE TAPE

(This is an excerpt of his memories of the time, the full transcript to be published in the liner notes).

"Having been off the road for nearly a year, recording and mixing, finances were grim and we’d taken to the road with some urgency, to raise some much needed wages, promote the Common Ground single and prepare for the upcoming album release.

By the time we did the Canberra Workers Club gig we’d already been touring pretty solidly through November, December and January 1984, to promote the ‘Common Ground’ single.

We’d had a short break and done a few days of recording and a few days of final mixes for the following single release before driving to Canberra. It was one of the first shows in a very long tour run that would take us from Melbourne to North Queensland, to Tasmania and West Australia. Like all touring in those days, it was nearly all done by road.

There’s some rough patches here and there and a bit of patchwork and spot welding that had to be done in a few spots. They’re certainly imperfect.

That said, the tapes are impressive and I think you’ll be struck, dear listener, by how good a live band Goanna were and how great the crew were who pulled these shows together, night after night, on the road. They’re a faithful portrait of a band in full flight, with a six man road crew, that you don’t see in the background, pulling every show together.

It was no easy life but our core crew guys were the salt of the earth and stood by us through thick and thin.

Bob Welsh was Goanna’s Stage Manager forever. He turned up regularly to a residency we had on Saturday afternoons at the Station Hotel in Prahran, Melbourne in 1980 or 1981. It began as a conversation and then he started helping us carry our gear out to the truck at the end of the gig. Before long, he was completely indispensable and central to the crew. Bob stated.....

"The people who mentored me in this, my first gig with any band, were all outstanding operators in their fields and gave me the tools to work for over 40 years with a variety of fine Aussie bands.

I would get a call at a gig at 6 o'clock in the evening and be told that there would be a Hammond organ and Leslie amp in the show tonight, leave room on stage. No problem! or "We need a didge mike for the encore" No problem! Fortunately, nobody invited a steam calliope player to join. That may have been a problem!”


Regards,

Bob Welsh"

The old adage in Goanna was, “Look after your crew, they’ll look after you.”

We also had a rule about not doing more than 300 kilometres a day, unless it was unavoidable, in a conscious attempt to keep everyone safe on the road. We did."

ARCA would like to thank the following sponsors of The Desk Tape Series:-

Sponsor                 Industry Roles

Showtech                Rigging                            
CMI                         P.A and Production                      
Clearlight                Lighting                                     
DSE Trucks              Transport                                   
Scully Outdoors       Outdoor Production           
Gigpower                 Crewing and Staging                             
Lock and Load         Crewing                           
Chameleon Touring  Lighting                           
JPJ                          P.A and Lighting                                             
Novatech                 P.A and Lighting     
Phaseshift               Lighting                                     
Show FX Australia    Pyrotechnics                     
Event Personnel       Crewing                           
Norwest                  P.A and Lighting Production
Nprint                     Artwork

Ian Peel and Adrian Anderson
ARCA Co-founders and Directors.

Note from founders:-

" This is a small way we can help our mates get some self-worth and recognition for their contribution to the Aussie music industry and help if they are in crisis. It is a great honor for us to be able to present these memories to all."

"All Hail Crew"

"Looking after OUR OWN with FEELING and a WHOLE LOTTA LOVE"

 

Continue reading

MEN AT WORK LIVE IN CHRISTCHURCH 1982 TAPE TO DROP AUGUST 1st

MEN AT WORK LIVE IN CHRISTCHURCH 1982 TAPE TO DROP AUGUST 1st
A recently surfaced live album from Men At Work, recorded just before their massive US breakthrough showed the band from Melbourne was more than ready for what was to come.

Men At Work Live At Christchurch Town Hall 1982 is the sixth of the Australian Road Crew Association’s (ARCA) Desk Tape Series.

          These live desk tapes are recorded from the sound desk by sound engineers, and raise funds and resources for the Support Act "Roadies" Fund which was set up to provide financial, health, counselling and well being services for crews.

          ARCA established Black Box Records as the platform to promote each release, with MGM Distribution providing worldwide distribution.

          Thanx to Greg Noakes for the early photos, the cover artwork by Nprint, the mastering by Phil Dracoulis and Matt Rosser, and Men At Work for their support of crew.

The Men At Work Live 1982 tape and The Desk Tape Series will be available through:

https://ffm.to/menatworkliveinchristchurch1982           (paste into browser if it fails to work)


iTunes

Apple Music

Amazon

Spotify

YouTube Music

Google Play

Pandora

Deezer

TIDAL

Facebook

Instagram

TikTok


"Hi all, Colin Hay here,

            This is a Men At Work desk tape recording from a live show in Christchurch in 1982. It was on cassette. I loved cassettes. Nice hiss. The monetary proceeds of however you consume this music, great or small, will go to help those in our industry who need it the most.

            In 1978, Ron Strykert and I started playing acoustic shows together, and writing songs. Not always together, but I found Ron to be a totally unique and inspiring person to play with, so he brought out the best in me. We played meandering, exploratory music often in open tunings, and my mind was exploding.

We worked together as an acoustic duo for quite a while, a year or so, before one day Jerry Speiser, a great drummer friend of mine, appeared and said he was joining forces with us. We were now a band. A three piece, but a band nonetheless. 

            I had been watching Greg practice the sax and flute for the better part of the 70s. He had what all great musicians crave, he had a sound, and it was his own. I asked him to join the band. He hesitated for a minute, he was still at college, finishing a music degree. A few weeks later he came to see me. He wanted in. Bless his sweet heart.

           Ron was playing bass, myself on guitar. Although Ron was a inventive bass player, he really needed to get back to playing guitar, he was a much better guitarist than I was. More than that, his playing gave everything a beautiful unpredictable quality, which I treasured.

Jerry being a drummer, knew a guy, John Rees, predominantly a brilliant jazz bass player, but also an excellent all-round musician. That was it. Off we went. It was a fertile period. It is an amazing feeling coming up with a song in the morning, rehearsing it in the afternoon, and playing it the same night in front of an audience. That happened often.

             As with many bands, there were always disparate energies within Men At Work. Over the next two years or so, we played lots and lots of shows. We were somewhat of a hippie jam band really with songs, which were becoming more and more defined. We were unhip, we were never going to be the darlings of the rock press. I didn’t care, I knew what we had, it just had to be brought into focus.

Peter McIan was the American record producer who did just that. CBS Records had offered us a deal. A bad deal, but it was a deal, and we wanted to make a record.

One night, Peter Karpin brought McIan to see us at the Manzil Room. He immediately knew what we had, and what he could do with us. I think he captured the best we had to offer. Just listen to Ron’s guitar solo in “It’s A Mistake”. It’s breathtakingly beautiful. Or Jerry’s drums on “Down By The Sea”, it’s a more than inspired performance.

              So the record was done in a few weeks, and we were on the road. We hadn’t been off the road in two years, but now we had a record behind us, and we were empowered, to say the least. 

I started to notice something about the audiences during ’81, going into ’82. They were becoming incredibly energized at the shows, fiercely responsive. It was like a mutual, deep recognition of the electric beauty and pure energy that music can create. It was one of the happiest, most creative and exciting periods of my life. It stays with you. Always.

This tape was recorded during this period. I hope you enjoy it.

In Peace and Love,

Colin"

Men At Work came together bound by creativity, strong musicianship and consisted of :

          Colin Hay – vocals, guitar

          Ron Strykert – guitar, vocals.

          Jerry Speiser – drums, vocals.

          Greg Ham – saxophone, keyboards, vocals, flute, harmonica.

          John Rees – bass, vocals.

Jerry Speiser remembers: “There was a rapport between us and the humour was an important part of it all. We could be tight but also be loose within that. The arrangements were very strong, we all had good voices, Colin’s was unique, and I always regarded him as a genius songwriter.

When I listen to the Christchurch tape, what strikes me most was that the band was happy, we were having fun.”

By the time Men At Work played New Zealand, they’d repeated their Australian success, with ‘Who Can It Be Now? and ‘Down ‘Under’ storming the charts and their first album Business As Usual perched at #1.

On the tour, they broke attendance figures at every venue, were given the rock star treatment, and the Christchurch show was broadcast nationally on a radio network.

Men At Work’s Christchurch show before 2,500 fans, recorded by long time friend and front-of-house operator Mark Woods, follows successful issues by ARCA of rare desk tapes by Redgum in 1985, TISM in 1988, The Captain Matchbox Whoopee Band in 2010, Jo Jo Zep & The Falcons in 1976 and Australian Crawl in 1981.

Mark Woods explains: “The American producer Peter McIan massaged songs, and turned them into radio hits. Men At Work’s rise to success was so quick. Within six months they moved from the tiny pub, the Cricketers’ Arms in Richmond, to playing to tens of thousands at beachside concerts.”

Live At Christchurch Town Hall 1982 abounds with hits like ‘Who Can It Be Now?` which began life by Hay on a treetop house in NSW and finished off in the seedy suburb of St. Kilda in Melbourne where residents feared being mistaken for criminals and drug dealers.

‘Down Under`is credited to Hay and guitarist Ron Strykert. But they never sat in the same room to write it. Strykert came up with the riff as part of a cassette tape of soundscapes. Hay listened endlessly to the tape and one day while driving around Melbourne, the phrase “I come from the land down under” popped in his head. Says Hay, “It was a marriage of two totally different approaches. But it wouldn’t have become a song if not for that tape that Ron made.”

‘Overkill’ captures Men At Work’s anticipation of their massive success, “of stepping into the unknown where you have no control and having a certain amount of steel about that.”

All in all, this live recording captures an incredible moment in time and a piece of historical Australian music.

ARCA would like to thank the following sponsors of The Desk Tape Series:-

Sponsor                 Industry Roles

Showtech                Rigging                            

CMI                         P.A and Production                      

Clearlight                Lighting                                     

DSE Trucks               Transport                                  

Scully Outdoors       Outdoor Production           

Gigpower                 Crewing and Staging                             

Lock and Load         Crewing                           

Chameleon Touring  Production and Lighting                         

JPJ                          P.A and Lighting                                             

Novatech                 P.A and Lighting     

Phaseshift               Lighting                                     

Show FX Australia    Pyrotechnics                     

Event Personnel       Crewing                           

Norwest                  P.A and Lighting Production

Nprint                     Artwork

Ian Peel and Adrian Anderson

ARCA Co-founders and Directors.

Note from founders:-

"ARCA and The Desk Tape Series is a small way we can help our mates get some self-worth and recognition for their contribution to the Aussie music industry and help if they are in crisis. It is a great honor for us to be able to present these memories to all."

All Hail Roadies and Crew

"Looking after OUR OWN with FEELING and a WHOLE LOTTA LOVE"


All enquiries contact :

          Adrian Anderson     0409 789 440

          Ian Peel            0415 667 221
Continue reading

"AUSTRALIAN CRAWL LIVE AT BILLBOARD 1981" TAPE TO BE DROPPED JULY 1st

"AUSTRALIAN CRAWL LIVE AT BILLBOARD 1981" TAPE TO BE DROPPED JULY 1st

 

The tapes are usually recorded by the acts’ sound engineer straight from the mixing desk, and gives an intimacy, sharpness and an incredible live punch.

In this case, it was recorded and produced by high profile crew member George Alexander, who was stage manager, at the time, of the Melbourne central business district high-end music venue Billboard. George had previously worked with Men at Work. The tape was remastered by Matt Rosser.

The FOH engineer was Gary "Rocket" Fox.

The series was created by ARCA to raise funds and resources for Support Act’s Roadies Fund to provide financial, health, counselling and well being services for crews.

ARCA established Black Box Records as the platform to promote each release, with MGM Distribution providing worldwide distribution.

“The idea of our Desk Tape Series began some years ago for us to help in a small way to help give road crew recognition to themselves and to the public for their contribution to the Aussie music industry,” say founders and co-directors of ARCA, Ian Peel and Adrian Anderson.

The Desk Tape Series will be available through:

 https://ffm.to/australiancrawllive1981 

(paste the link into your browser if it fails to work)

iTunes
Apple Music
Amazon
Spotify
YouTube Music
Google Play
Pandora
Deezer
TIDAL
Facebook
Instagram
TikTok

Australian Crawl: Live At Billboard 1981 was recorded as the band from Victoria’s surf coast Mornington Peninsula, hit its strides as a live act.

They consisted of singer James Reyne, drummer Bill McDonough, rhythm guitar and vocals Guy McDonough, bassist Paul Williams, lead guitarist Simon Binks and rhythm guitarist Brad Robinson.

Their healthy swimming and surfing passions initially gave the band a surfer and college student following before they became household names.

By the time of the Billboard show, Australian Crawl had sold 600,000 copies of their first two albums The Boys Light Up and Sirocco, and voted the most popular group at the 1981 Countdown Awards.

They were breaking attendance records at clubs around the country. They drew 100,000 to Myer Music Bowl in Melbourne and 90,000 to The Domain in Sydney.

Paul Williams commented on how they sounded circa the Billboard show: “We were very confident. We lived for those shows. We were a rock band with a rock show. We leaped out at the gates with the first song. We were always working on the set to make it more exciting.

“We were genuinely into the excitement of the show. Brad Robinson would lift you just through his body language on stage, all 6’3” of him primal screaming.

“James would be running around, jumping up and down, vicing up the crowd, running over and shouting in your ear.

“In the meantime, the bass had to be rock solid and the drums had to swing.”

Between the first two albums, Crawl expanded to a six piece with the addition in October 1980 of Guy McDonough as guitarist, singer and songwriter.

Guy was a long time friend of some of the band, and brother of Bill McDonough.

Guy, Bill and Sean Higgins had written the gorgeous ‘Downhearted’ on the first album.

For Sirocco, named after Tasmanian-born Hollywood hell-raiser Errol Flynn, Guy had written  five of the eleven tracks, all the singles and onstage shared frontman duties.

He was a tough no-nonsense individual who changed the social dynamics of the band,

Bill McDonough recollects, “Guy was brought in to broaden our song writing and assist in lead vocals and backing vocals.

“He was such a great songwriter and a great singer. He added a lot of credibility to the band.

“He took a lot of pressure off James Reyne who after the success of The Boys Light Up album was feeing the pinch.

“He was quite charismatic, like James, but in a different way. In a lot of ways he was the musical and social glue of Crawl.”

The 20 songs on Australian Crawl: Live At Billboard ’81 include all their hits at the time, as ‘Beautiful People’, ‘Downhearted’, ‘Errol’, ‘Things Don't Seem’, ‘Lakeside’ and ‘Oh No Not You Again’.

There are also album standouts as ‘Unpublished Critics’ (written by Reyne and Williams), ‘Indisposed’ and ‘Love Boys’ (which Bill wrote about two of their road crew), reviews of the next album (‘Daughters Of The Northern Coast’ got its first airing this night) and crowd-punching covers as ‘Six Days On The Road’ and ‘Slow Down’.

The year after, Crawl went on to have another #1 album with their third album Sons Of Beaches.

Bill left in 1983 after clashes with Reyne, Guy died in mid-1984 aged 28, Paul Williams left during the making of the third album because “it was not a band I wanted to be in any more” and Australian Crawl broke up in early 1986.

ARCA thanx its Sponsors for supporting the ARCA Desk Tape Series:-

            Sponsor                     Industry Roles

            Showtech                    Rigging                                   
            CMI                             P.A and Production                            
            Clearlight                     Lighting                                              
            DSE Trucks                 Transport                                            
            Scully Outdoors           Outdoor Production                
            Gigpower                     Crewing and Staging                          
            Lock and Load             Crewing                                  
            Chameleon Touring    Lighting                                  
            JPJ                              P.A and  Lighting                                                                Novatech                     P.A and Lighting         
            Phaseshift                   Lighting                                              
            Show FX Australia      Pyrotechnics                          
            Event Personnel                                             
                            Australia      Crewing
            Norwest Productions   P.A and Lighting Production  
            N-print                         Artwork           

Ian Peel and Adrian Anderson

ARCA Co-founders and Directors.

Note from founders:-

" This is a small way we can help our mates get some self-worth and recognition for their contribution to the Aussie music industry and help if they are in crisis. It is a great honor for us to be able to present these memories to all."

All Hail Crew


"Looking after OUR OWN with FEELING and a WHOLE LOTTA LOVE"


Continue reading

JO JO ZEP and the FALCONS LIVE AT SAN REMO, NYE 1976 TAPE TO BE DROPPED JUNE 1st

JO JO ZEP and the FALCONS
LIVE AT SAN REMO, NYE 1976 
TAPE TO BE DROPPED JUNE 1st
                          

JO JO ZEP and the FALCONS

LIVE AT SAN REMO, NYE 1976

TAPE TO BE DROPPED JUNE 1st

Jo Jo Zep & The Falcons’ Live At San Remo, NYE 1976 is the fourth of the Australian Road Crew Association’s (ARCA) Desk Tape Series.

LIVE Jo Jo Zep 2.jpg

The tapes are recorded by the acts’ sound engineer straight from the mixing desk, and gives an intimacy and sharpness.

The series was created by ARCA to raise funds and resources for Support Act’s Roadies Fund to provide financial, health, counselling and well being services for crews.

Live At San Remo, NYE 1976 follows releases from Redgum, TISM and Captain Matchbox with half a dozen more in the pipeline in the next six months. Thanx to Greg Noakes for the photos and Phil Dracoulis for mastering and Matt Rosser for the smooth bass

Live At San Remo, NYE 1976 captures Jo Jo Zep & The Falcons' raw excitement and enthusiastic embracing of a potpourri of styles including soul, R&B, reggae jazz, swamp. blues and rock. It is brilliant.

The Desk Tape Series will be available through:


iTunes

Apple Music

Amazon

Spotify

YouTube Music

Google Play

Pandora

Deezer

TIDAL

Facebook

Instagram

TikTok


Jo Jo Zep & The Falcons were one of the most powerful bands to emerge out of the Melbourne clubs in the mid-70s – with a glorious blend of originals and obscure covers with tight musicianship and a laddish sense of entertainment.

They were fronted by ball of energy Joe Camilleri who sang and played sax, and his nickname derived from Giuseppe, the Maltese name for Joseph gave the new band their name.

Recalls Camilleri, “They originally invited Stephen Cummings and me, both of us were in a band called The Pelaco Brothers. The deal was Stephen would sing and I would play sax.

“”We arrived at the rehearsal after a Pelacos country gig 100 km away the night before, a bit worse for wear and wearing the same clothes.

“Stephen decided in the end to go off and form The Sports but I was in awe of these guys, great musicians who’d been in legendary bands.”

jojozep1.jpg

Wayne Burt (guitar, vocals) was from Rock Granite and the last days of Daddy Cool, Jeff Burstin (guitar, vocals) from Co. Caine, John Power (bass, vocals) from Foreday Riders and Gary Young (drums, keyboards, vocals) an original part of the Daddy Cool phenomenon.

Burt, Camilleri and Young contributed individually to the satchel of songs, and all five were fine singers in their own right.

Jo Jo Zep & The Falcons hit the ground running. Within weeks they were packing out clubs, eventually playing 300 shows a year around the country and abroad.

Wayne Burt: “The people who came to our gigs were real music fans… we weren’t a pretty boy band by any means!

“”Our wide variety of styles when we started out, meant the crowd never got bored. As we tried out new sounds, they trusted us enough to go along with us.”

Dave Ridoutt, a brilliant electronics and electrical engineer, also Falcons sound engineer and owner of the Live At San Remo, NYE 1976 tape: “The Falcons and Ariel were the best bands in Melbourne at the time, we packed out the clubs, and there was a bit of competition between us.”

Joe Camilleri: “After the wonderful decade before when The Beatles, The Stones, Coltrane and Miles blew your head, the ‘70s went on to be a time of incredible things, and audiences had more tolerance for the avant-garde.

“People had more stamina and patience to let a band experiment.”

Part of the appeal was Jo Jo Zep & The Falcons’ sense of entertainment.

Out front Camilleri’s onstage fashion sense included 1930s zoot suits, scarves, turbans, satin shirts and, as a one-time apprentice tailor, self-made trousers which invariably tore as he went into his frenzied routines and needed to be gaffa-taped while one of the others took a solo.

The band would do everything to rouse the crowd – holding guitars and saxophones in the air, and dancing around like dervishes.

Camilleri would blithely give away the stage production, and once crawled into the bass drum while Young was pounding the hell out of it.

During an ill-matched heavy metal show in San Francisco, the headbangers displayed their disapproval by throwing things (including eggs) at the stage. Camilleri yelled back: "Is it any wonder your parents lost the Vietnam War – you can't even shoot straight!"

At a Sydney show when a member took it into his head to play nude, no one batted an eyelid.

So while both band and audience exuberantly celebrated at the shows, Live At San Remo, NYE 1976 takes on a greater rowdiness as it was at a Victorian surfside venue on New Years’ Eve! It was more than just fireworks going off.

Live At San Remo, NYE 1876 features Wayne Burt classics as the blues ballads “King Of Fools” and “I Need Your Loving (I Remember)”, the swamp rock guitar interplay “Dancing Shoes”, the horn driven tribute to Willie Dixon “Yes Indeed” while “Beating Around The Bush” from the Oz movie soundtrack is a formidable performance with horns and guitars whipping around each other. The opening track of Live at San Remo NYE 1976 John "Boodle" Power plays bass and sings the Muddy Waters blues classic "Just to be With You"

Their covers were not obvious ones. Camilleri would go to hip underground record stores and find imported R&B, jazz and soul compilations.

From these came Joe Liggins’ cool shuffle “The Honeydripper”, Louis Jordan’s 1958 “Barnyard Boogie (Boogie In The Barnyard)” and rollicking 1949 “Saturday Night At The Fish Fry” and Sammy Kershaw’s 1958 hit “All In The Same Boat”. They were discoveries for much of the crowd and became live favourites.

Dave Ridoutt’s tape captures the last blaze of glory for the original lineup.

Not long after, Wayne Burt quit to spend more time on his graphic arts, to be replaced by guitarist Tony Faehse and saxplayer Wilbur Wilde.

Warne Burt: “I later regretted leaving. It was not for personality reasons. But we’d be playing at discos, and as soon as we went off for a break, everyone would hit the dance floor.

“Then we’d come back on, and everyone would leave. It was soul-destroying. But it forced Joe’s hand to write songs with the rest of the band which were commercially successful.”

Jo Jo Zep & The Falcons went on to greater heights with radio hits as “Hit And Run” and “Shape I’m In”, platinum albums, playing legendary festivals as the Montreaux Jazz Festival and Elvis Costello taking such a shine to their “So Young” that he sang it every night on a world tour during the encore.

Joe Camilleri too sees Live At San Remo, NYE 1876 as capturing an early gold period.

“Soon as we had ‘Hit & Run’, we went further to the record books. But we lost something that I didn’t realise at the time. That wonderful thing we shared, this music, audience allowed us to f**k up because they’d laugh along.”



ARCA would like to thank the following sponsors of The Desk Tape Series:-

Sponsor                 Industry Roles

Showtech                Rigging                            

CMI                        P.A and Production                    

Clearlight                Lighting                                      

DSE Trucks  Transport                                   

Scully Outdoors       Outdoor Production          

Gigpower                Crewing and Staging                            

Lock and Load        Crewing                           

Chameleon Touring Lighting                            

JPJ                         P.A and Lighting                                             

Novatech                P.A and Lighting     

Phaseshift               Lighting                                      

Show FX Australia   Pyrotechnics                    

Event Personnel      Crewing                           

Norwest                  P.A and Lighting Production

Ian Peel and Adrian Anderson
ARCA Co-founders and Directors.

Note from founders:-

" This is a small way we can help our mates get some self-worth and recognition for their contribution to the Aussie music industry and help if they are in crisis. It is a great honor for us to be able to present these memories to all."

All Hail Crew

"Looking after OUR OWN with FEELING and a WHOLE LOTTA LOVE"
Continue reading