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Crowded House LIVE '92—'94 Part 1 TAPE TO BE DROPPED 1st DECEMBER

Crowded House LIVE '92—'94 Part 1
TAPE TO BE DROPPED 1st DECEMBER

BLACK BOX       relief logo     desk tape series logo

 

Crowded House

LIVE '92—'94 Part 1

TAPE TO BE DROPPED 1st DECEMBER

Crowded House Live 92-94 Part 1, is the tenth release of the Australian Road Crew Association’s (ARCA) Desk Tape Series. Part 2 will be released soon.

Crowded House Cover 1500


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 ARCA’s Black Box Records through MGM Distribution and on all major streaming services.

Thanks to Youri Lenquette for the cover photo, Nprint for the cover artwork, Phil Dracoulis for the mastering and Crowded House for supporting roadies and crew.

The live tapes, Parts 1 and 2, are straight off the mixing desk and made by a road crew member, in this case their sound engineers Bruce Johnston and Angus Davidson.

The Crowded House Live 92-94 Part 1 tape and all the ARCA Desk Tape Series recordings are available through:

https://ffm.to/crowdedhouselivepart1 (Please paste into browser if it fails to work)

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Crowded House make beautiful albums. By July 2010, the band, which formed in Melbourne in 1985 and quickly became a global success story, had sold 10 million of them.

But it is in concerts that they bring a sense of time to the timeless songs, with their improvised humour through whacky onstage patter and the occasional onstage practical jokes on fans.

For Neil Finn, the stage also provided a leveller to Crowed House songs, where non radio hits like Recurring Dream’, ‘In My Command’ and ‘Catherine Wheels’ get as much applause from the fervent fans as those which were.

“Music always travels in mysterious ways,” he admits. “I can’t say I understand why one song is a hit and another one’s not.”

Finn has said that his sense of ambition has never been about how many front covers he’s been on and how “big” a rock star he’s considered, but in making a piece of beautiful music that will last for decades and decades.

When people do remember those songs, it is not important to him that they remember their writer.

Throughout his career he’s leaped from project to project with different names and personnel – at odds with music marketing creed that “you wear the same clothes every day if you want to be famous.”

Crowded House Live 92—94 Part 1 has some of the band’s best ever songs. Part 2 will continue the incredible song list.

‘Don't Dream It's Over’ was enough of a gorgeous ballad to be a world hit including #2 in the US, #1 in New Zealand and Canada and Top 10 in Australia, Norway and the Netherlands.

Neil was feeling lost at the time and wanted to write a song about moving forward. He penned it at his brother Tim’s home, trying to find quiet there while his sibling was away.

But drummer Paul Hester was staying there and had friends over, so while Neil wrote behind closed doors in the piano room, out came the line “when the world comes in”.

“Try to catch a deluge in a paper cup” is a homage to his musical hero John Lennon who used the line “Words are flowing out like endless rain into a paper cup” on ‘Across The Universe’.

The song came together quickly and Neil made a demo of it as soon as he returned to his home, using a matchbox as a snare drum and tapping the table as his bass drum.

The original had a R&B/soul feel and Crowded House found it difficult when they rehearsed it.

In the studio, producer Mitchell Froom suggested changing the flavour, and shifted the key from E to E# to make it more melancholy.

Years after its release, fans remain divided on whether the song is of hope or if the title means “don’t dream (any more because) it’s over”.

According to bassist Nick Seymour: "You think the song is gloomy? The record's about not giving up hope and succumbing to the effects of the mass media and consumerism, but there's an over-riding positive view in all our songs."

The inspiration for other songs on Crowded House Live 92—94 Part 1 come from different places.

‘Pineapple Head’ was something his infant son Liam yelled out while hallucinating during a fever in Melbourne, as well as "the get away car" and "the detective is flat."

Rather than tend to the boy, Neil says he rushed downstairs to his studio to get the lines down – something which he says his wife Sharon ticked him off for, and for which Liam still insists he should get some publishing royalties for!

At Crowded House’s ‘Farewell To The World’ concert, Neil introduced ‘Sister Madly’ as "This is a song about waking up in a room with my sister having nightmares!"

For ‘Hole In The River’ Neil was doodling up a new melody when the phone rang. It was his father to say his sister (Neil’s aunt) had killed herself. He went back to the piano and out came the first line, "There's a hole in the river where my auntie lies."

One interpretation of ‘Better Be Home Soon’ is that Neil is telling Paul Hester he was aware of the demons he was confronting and that he needed to be home where he would be “safe”. At the 2005 ARIA awards, after a depressed Paul killed himself in a Melbourne park aged 46, Neil flew to Sydney from Auckland just to perform the song as an emotional farewell to Paul.

'Kare Kare' from Together Alone is named after the beach in New Zealand where the album was recorded. Neil recalls, Sleep by no means comes too soon/ In a valley lit by the moon.”

Another New Zealand location, Te Awamutu, the town Neil and Tim grew up in, appears in ‘Mean To Me’ about an American tourist who was down on her luck and felt abandoned by everybody.

‘It’s Only Natural’, another global hit, featured in the end credits of 1992 film There Goes the Neighbourhood starring Catherine O'Hara.

‘Locked Out` was part of the soundtrack to American Reality.

Recalling a more simple time in his life, and taking responsibility for his failures "like a Christian fearing vengeance from above" brought Neil to ‘Distant Sun’.

‘Chocolate Cake’ was inspired by an incident in a New York restaurant where a woman loudly chattered, “I don't know, you think I should have another piece of chocolate cake?” The song’s lines like "excess of fat on your American bones” was viewed as a comment on American consumerism and over-indulgence which led to its low sales in the US.

‘Log Cabin Fever’, about a lonely man who kills himself because he was shut in during winter, first emerged in Split Enz’s 1982 album Time and Tide.

Other songs on Crowded House Live 92—94 Part 1 include ‘Whispers And Moans’, ‘Love This Life’, ‘In My Command’ and ‘Fingers Of Love’.

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

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DUTCH TILDERS LIVE at THE COMMUNE 1973

DUTCH TILDERS LIVE at THE COMMUNE 1973
 BLACK BOX               relief logo          desk tape series logo             

  
DUTCH TILDERS

LIVE at THE COMMUNE 1973

TAPE TO DROP NOVEMBER 1st


DUTCH TILDERS LIVE at THE COMMUNE 1973, is the ninth release of the Australian Road Crew Association’s (ARCA) Desk Tape Series.

Dutch Tilders 1500
The late Dutch Tilders was a prominent multi-award winning figure who emerged in the folk/blues boom from the late ‘60s, best known for his singing, guitar work and harmonica playing. Dutch is still one of the greatest blues players.

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 Desk Tape Series are released on ARCA’s Black Box Records through MGM Distribution and on all major streaming services. 

Thanx to Jim Colbert, Tony Mansur and Pete Howell for the early photos, Nprint for the cover artwork, Pete Howell for an amazing recording, Phil Dracoulis for the mastering, Peanuts Promotions/Publishing for permission to release to all and Dutch Tilders for being awesome.

The tapes are straight off the mixing desk and usually made by a member of the road crew. 

But in this case it was by Peter Howell, his long-time double bassist who’d started playing with Tilders six weeks before this recording. 

This is a pure acoustic performance with no amplification.

The DUTCH TILDERS LIVE 1973 tape and all the ARCA Desk Tape Series are available through: 
https://ffm.to/dutchtilderslive1973   (Please paste into browser if it fails to work)

iTunes
Apple Music
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Dutch had a Tuesday night residency at the club.

Recalls Howell: “The Commune was a small folk club in Victoria St., North Melbourne. 

“Folk clubs in those days were alcohol free and also PA free. You were really frowned upon if you had an electric instrument!

“The best memories of these clubs are playing totally acoustic, no PA”s, the audience sitting at your feet and not uttering a word. 

“It was like being under a microscope.

“It was the best scene to get your act together as a musician and not be self conscious under such scrutiny.”

For the recording he borrowed an Otari 2 track reel to reel and a couple of condenser mics.

“This recording is a great example of how it was done in a folk club and I am proud to see it released. A great moment in time for Melbourne music.”

Dutch Jim Pete 1973 1  18A Kerryn Tolhurst

Dutch, Jim and Pete                   Kerryn Tolhurst

Live At The Commune 1973, which also features Kerryn Tolhurst of The Dingoes and Jim Conway of the Captain Matchbox Whoopee Band, sees Tilders in top form as he tackles the lovely acoustic blues of ‘Willie Mae’, ‘Nobody Knows’ and ‘Going Down Slow’ and storms through the joyous uptempo shuffle of ‘Stop And Fix It’ and ‘Simple Rag’. 

The musicianship and instrumental interplay is superb, particularly on ‘Stoned Again’, ‘Two Bob Head’ and ‘Betty And Dupree’.

His long time manager Lynne Wright explains why Tilders stood out as a performer: 

“A gift to embrace his audience so everyone felt special.  His colourful personality on and off stage.  A truly professional showman whose charisma coupled with a unique style of finger picking guitar play and enormous vocal range.  

“His lyrics were humorous at times and he shared his full internal emotion with each song. “  

One of the highlights is the way Tilder’s uses his voice like few other bluesmen.

It’s little known that as a 10 year old growing up in Holland (hence the stage name “Dutch”), he was a member of the local church choir.

After his voice broke he sang baritone and falsetto, and joined his secondary school's choir.

After his family moved to Melbourne, Tilders began devouring US blues records by Big Bill Broonzy, Brownie McGhee, Mississippi John Hurt, Josh White and Blind Blake.

He taught himself guitar, harmonica, piano and stompbox. His first paying gig was at 15 at a Collingwood Town Hall show headlined by Johnny O'Keefe.

He soon made a name for himself in the folk/blues clubs in Melbourne and Sydney.

But Tilders’ audience was much more diverse, and his natural no-nonsense charm could win over crowds at rock venues, jazz festivals, parties, bike clubs – and one memorable time at the Box Hill Town Hall, skinheads and sharpies at a Lobby Lloyd and the Coloured Balls show.

A member of the Musicians Club, he’d often drop by after a gig, to play piano before jazz and classical musicians.

There are many anecdotes about his shows. As a big fan of wacky British comedy show The Goons, Tilders would listen lovingly to their cassettes on the way to shows.

This included a Goons marathon during a seven-hour drive to Canberra. When he welcomed the crowd, out came a lot of unexpected Goons gobbledygook which had everyone bewildered. 

No one was surprised when Dutch got a blood-spattered shirt on the way to a gig. On the train in, some thugs were hassling an old woman, so he went over and punched their lights out.

A country pub had the last quarter of the footie on TV during Tilders’ set for the regulars. Fans of the Carlton team kept shouting, ‘Come on the Blues’ and ‘Go Blues’.  Dutch yelled over the banter “I’ve been playing the blues all night!”

Tilders was diagnosed with terminal inoperative oesophageal cancer in May 2010. While the music community gathered around doing benefits to raise money for medical costs, Dutch kept performing despite the pain.

As he would sing onstage on ‘Workingman’s Blues’, “I guess I’ll keep on working, honey, until I’m dead and gone.”

While preparing for his departure, Tilders wrote and recorded ‘Going On A Journey’, his thoughts about his life, which became the title track of his 15th and final album. 

‘He was asked during this time if he had any regrets, His swift answer was: No … at least none I remember..”

Wright explains, “Dutch lived in the present, loving his life every day.”

He defied doctors’ orders and kept smoking and drinking until a few hours before he passed away on April 23, 2011. He was 69. Dutch chose quality of life, not quantity, and passed peacefully.

In May 2012 Australian Guitar magazine listed him among the top 40 on its Definitive Australian Guitarists of All Time list.
13A Dutch
On October 30, 2019, Dutch was inducted into the Blues Music Victoria Inc Hall of Fame.

Before he died, he gave Wright a bucket list of projects to do. Nine years later she says the list is 90% finished.

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 enquiries contact -
Adrian Anderson 0409 789 440
Ian Peel 0415 667 221

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



  




 
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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
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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
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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"

 

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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)


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"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
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