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 845 guests and no members online

The Australian Road Crew

Latest News

Albert Lee and Vince Gill with Aussie friends LIVE at The Prince of Wales Hotel 1988 Tape to be dropped June 1st.

Albert  Lee and Vince Gill

with Aussie friends

LIVE at The Prince of Wales Hotel 1988

Tape to be dropped June 1st.
BLACK BOX          relief logo        desk tape series logo

Albert  Lee and Vince Gill

with Aussie friends

LIVE at The Prince of Wales Hotel 1988

Tape to be dropped June 1st.

Albert Lee and Vince Gill, with Aussie friends, LIVE at The Prince Of Wales Hotel, 1988 is the 15th release of the Australian Road Crew Association’s (ARCA) Desk Tape Series.

Albert and Vince 1500

Highly acclaimed US-based country music guitarists Vince Gill and Albert Lee are the latest artists to throw their support behind ARCA’s Desk Tape Series.

The live show at The Prince of Wales Hotel Bandroom in St Kilda, Melbourne in 1988 was part of a 10-date run, which included a run of shows at The Prince of Wales Hotel. The backing band was comprised of two legendary Aussies, Malcolm Wakeford on drums and Graham Thompson on bass.

The live tapes are made straight off the mixing desk and made by a road crew member, in this case it was the sound engineer for the tour, another great Aussie, Noel Bennett.

This is the latest in the Desk Tape Series, created by the Australian Road Crew Association (ARCA) to raise funds to provide financial, health, counselling and well being services for roadies and crew in crisis.

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

Thanx to Nprint for the artwork, Phil Dracoulis for the mastering, and Albert Lee and Vince Gill, and the Aussie band, for their support of roadies and crew. Awesome.

The Albert Lee and Vince Gill with Aussie friends, LIVE at The Prince of Wales Hotel 1988 tape, and all the ARCA Desk Tape Series live recordings are available through:

 https://ffm.to/liveattheprinceofwaleshotel1988   (Please paste into browser if it fails to work)

Amazon
Anghami
Apple Music / iTunes
Boomplay
Black Box Records
Deezer
MGM
Pandora
Shazam
Spotify
TenCent
Tidal
TikTok
YouTube Music

Now a country music superstar, winner of 22-Grammys and who last toured Australia as part of The Eagles, Vince Gill was still establishing his solo career when the Australian tour took place.

Now based in Nashville, he knew Albert Lee when they were both living in Los Angeles and moving around in the same music circles.

On Live at The Prince of Wales Hotel, 1988, Vince can be heard laughingly telling the audience, “I was the only one in the US stupid enough to play after Albert Lee!”

Thirty three years later, Vince exclaims, “That’s still true! No one plays like Albert. He has a swing and a bounce, and so intoxicating to play with.

“There’s absolutely no competition when we play together, just total admiration.”

In 1988, Albert Lee enjoyed legend status among other musicians.

Born in England, he was “the guitarist’s guitarist”, for his technical virtuosity and for playing his Telecaster at breakneck speed.

This was the time of squealing feedback courtesy Jimi Hendrix, Jimmy Page and Eric Clapton. Lee wanted to play country music and thought he’d try his luck in Los Angeles in 1974. He was embraced there, recording and touring with heaps of musicians, notably with the Everly Brothers and Emmylou Harris.

“We were the youngsters who picked up the mantle after the great country names like Buck Owens and Merle Haggard,” Albert recalls.

“That’s when I first met Vince. He was more into bluegrass. But he and Ricky Skaggs would tell you I was an influence on them picking up the guitar.”

Listening to Live at The Prince of Wales, 1988 brought back memories.

 “I wasn’t nervous about hearing those old tapes because I knew we played well,” Albert says. “But we wanted to do this for ARCA’s Roadie Fund. Being a crew member is tough and there’s no pension, so it’s all I could do to help.

“I don’t think there’s a fund like ARCA’s in America, not that I’ve heard of. But I do know musicians are doing charity shows for crews.”

Vince put the spotlight on the relationship between musicians and crews.

“The sound, the lights, everything’s done for you. So many guys who do that are musicians themselves. Maybe they never made it up to that level of musicianship or singing but they love being around people who love the same things.

“It’s been a crazy 12 to 18 months and it’s apparent everybody is struggling. Everyone’s in the same boat, and there are a lot of good people doing things like this to give a hand up.”

On Live At The Prince Of Wales, 1988, the mood is both laid-back yet intense, the crowd cheering them along as they exchange licks, harmonies and affectionate stage patter.

ALBERT LEE2 307 gallery  Vince Gill1

Albert Lee                                        Vince Gill

The set included Lee’s “Evangelina”, ”So Sad” and cover of John Hiatt’s “Pink Bedroom” while Gill contributed “Colder Than Winter” and “Just Enough To Keep Me Hanging On”.

Because of time constraints in rehearsing with their Australian backup band, much of the second part of the set was filled with uptempo rockabilly classics as “One Way Rider” and “Tear It Up”.

“Sweet Little Lisa”, which Albert Lee had recorded with Dave Edmunds, saw the duo joined on the night by Stephen Housden of Little River Band. They knew him from LRB’s American tours, and had dinner with him before the show. Also at the meal was Russell Morris, whom they knew when he lived in the US. Morris was in the audience that night but didn’t join them on stage.

The classics “That’s Alright Mama” and “Mystery Train”, popularised by Elvis Presley, were more a tribute to the King’s guitarist Scotty Moore.

Vince: “We grew up listening to things like ‘Mystery Train’ and ‘That’s Alright Mama’, we were all influenced by Scotty Moore.

 “Those were some of the earliest things we heard, a bit of rock, a bit of rockabilly, a little bit of country twang, those songs were perfect and timeless.”

Albert: “I still do some of those classics in my set. I rest them but they always keep coming back!

“I really admired Scotty, he was one of my earliest heroes. I met him when we played at a big concert at Abbey Road Studios in London.

“Sad to say I never had the time to sit down and talk. He was pretty shy. I’d love to have picked his brain on a number of things. I had his phone number but sadly I didn’t take the chance to call.”

The 1988 tour was pulled together by folk music promoter and wine grower Andrew Pattison. In 1973, he and a friend drove in an old London taxi from England through Europe and Asia and ended up in Australia where he ran the Troubadour club in Melbourne

Pattison, who donated the live tape to ARCA, originally planned for the tour to include Rodney Crowell but the schedules clashed.

“The tour with Vince and Albert was the most enjoyable I’d ever done. They were so down-to-earth and of course great musicians. They stayed at my home, and my wife washed their clothes.”

He recalls taking them to a birthday party at a friends who also ran a winery, in Hanging Rock.

Neither were household names at the time, but one of the guests realised Vince was a top golfer, “a scratch golfer” who had no handicap.

“Why didn’t you become a professional golfer?” she asked.

Vince replied in his typical matter-of-fact style, “Because I can sing better!”

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
316 Hits
0 Comments

Wendy Matthews LIVE at Mudgee RSL 1991 and Bunnemah Estate 1994

Wendy Matthews LIVE at Mudgee RSL 1991 and Bunnemah Estate 1994
BLACK BOX            relief logo         desk tape series logo
 
Wendy Matthews


LIVE at Mudgee RSL 1991 and Bunnemah Estate 1994 tape to be dropped 1st May

Wendy Matthews LIVE at Mudgee RSL 1991 and Bunnemah Estate 1994 is the 14th release of the Australian Road Crew Association (ARCA) Desk Tape Series.

Wendy Matthews 1500

The successful ARCA Desk Tape 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 roadies and crew in crisis.

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

Thanks to Wendy Matthews for the photos, Nprint for the cover artwork, Phil Dracoulis for the mastering and Wendy Matthews for supporting roadies and crew.

Wendy Matthews is the 14th artist to throw her support behind ARCA's Desk Tape Series which provides assistant funding for Support Act’s Roadies Fund. Wendy donated two tapes from the era when she made the transition from highly-respected backup singer to multi-platinum solo artist.

The live tapes are made straight off the mixing desk and made by a road crew member, in this case her sound engineer Jim Blackfoot.

The Wendy Matthews LIVE at Mudgee RSL 1991 and Bunnemah Estate 1994 live tapes and all the ARCA Desk Tape Series recordings are available through:

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

Amazon
Anghami
Apple Music / iTunes
Boomplay
Black Box Records
Deezer
MGM
Pandora
Shazam
Spotify
TenCent
Tidal
TikTok
YouTube Music

The first show was at the Mudgee RSL (NSW) in April 1991, a year after her debut album Émigré went platinum and won her ARIA awards for best female singer and best newcomer (single).

Her hit singles included ‘Token Angels’ (inspired by a tragic school bus crash in Grafton,NSW), ‘Woman's Gotta Have It’ and ‘Let's Kiss (Like Angels Do)’.

It was one of the first shows her band did after just three weeks of rehearsals. Already they were red-hot, quickly adapting to Wendy’s mix of soulful ballads and funk-jazz slammers.

By the time of the second tape, recorded three years later at Bunnamah Estate in Margaret River (WA), she had international tours under her belt, and her stage confidence had soared.

The second album Lily, which reached #2 and certified triple platinum, yielded more hits as

‘The Day You Went Away’, ‘Friday's Child’ and ‘If Only I Could’ and even led to her making her acting debut as a nightclub singer in the 1993 movie Flynn about actor Errol Flynn.

“It was a very prolific time for me, very creative and magical,” Wendy recalls that era. “But it was a bit nerve-wracking because I wasn’t prepared, as a human being and as a dreamer.

“I was used to being in the back line, singing backing vocals as my chosen profession, and it took me a long time to feel more relaxed out in front. So I was still figuring out who and what I was.

“But listening to it now, I seem to have had a strong idea of what I wanted to do musically and what I wanted to say.

“I do marvel at that young voice, I remember in those days thinking I wish I had more depth, age and soul in my voice. Now that I have that depth, age and soul, I’m thinking ‘wow, listen to that clear young high voice.”

Wendy Matthews Live 1991/1994

13/4/91 Mudgee RSL
Band
Mick King              Guitar
Paul Abrahams      Bass
Mark Meyer           Drums
Amanda Brown      Violin, oboe, acoustic guitar
Mark O’Connor      Keyboards

Crew
Jim Blackfoot         FOH sound
Davros                   Monitors
Simon Smithers     FOH rigger
Adam Zak              Lights
Yan Jamieson        Stage
Adam Burbury       Stage
Pat Pickett             Truck driver

1994 Bunnamah Estate, Margaret River, WA
Band
Mick King               Guitar
Chris Sweeney      Drums
Ron Francois         Bass
Amanda Brown      Violin, oboe, acoustic guitar
Mark O’Connor      Keyboards
Lisa Maxwell          Backing vocals

Crew
Jim Blackfoot
Charlie Zarb
Yan Jamison
Davros
Adam Burbury
Adam Zak
Simon Smithers

Many of the band and crew are still with her today. Jim Blackfoot, her front-of-house and tour manager for five years – who recorded Wendy Matthews Live 1991/1994 – remembers how the singer ran her touring party as a family.

“She was absolutely lovely, she was like a mother hen, concerned about every single person in the tour party that they were OK.

“Onstage she has a great time. Off stage, she never complained. In fact she couldn’t get to sleep after a show, so she and guitarist Mick King would come into my room when I was doing the post-show finances and serenade me until 3 in the morning!”

Wendy Mathews and her songs celebrate being a free spirit and outsider and lover of nature. She’s been these all her life.

 Wendy Matthews1      d072bc19c41729900b8527a8f8c5070f

Born in Montreal, Canada, her art school parents split when she was 14. Two years later she left school and went busking across North America with friends.

At 18 she was in Los Angeles busking, making jewellery and working as a session singer.

She did backup vocals on Little River Band co-founder Glenn Shorrock’s solo album, and he invited her back to Australia to sing on tour.

She stayed, singing backup on albums by Jimmy Barnes, Richard Clapton, Tim Finn, Icehouse and Cher, and joining bands as The Models and The Rockmelons (where she first started working with Jim Blackfoot) and Peter Blakeley and The Resurrection.

In 1989 she was part of the supergroup Absent Friends, which included members of INXS and The Models, who had a Top 5 hit with ‘I Don't Wanna Be With Nobody But You’ (which is also on the ARCA live tapes) before going solo.

The nature of her relationship with her audience came from her childhood idol Joni Mitchell.

The legendary fellow Canadian said in interviews it was important for her fans to see themselves, and not her, in her songs and that how they responded was uniquely theirs and made them understand themselves better.

“I’ve kept that quote with me for years,” admits Wendy. “If you think a song is totally about me, and if you don’t see yourself in its lyrics, you’ve missed the point entirely. It’s about us all.

“People come to my shows not to headbang or jump in the moshpit or drop acid, but they dance, and they form conga lines. And if they start crying, which often happens, then I’m so honoured because they’re cleansing and expressing their inner relationship with the song.

“As that old quote goes, some people will love you and some people will hate you, and nothing of it has anything to do with you. It’s entirely their own reference in life. That’s a beautiful thing, and I feel honoured to be a catalyst in that.”

She has lived for the past 20 years on a 10-acre spread on a mountain top outside Coffs Harbour on the NSW in a mud-brick house. Her only companion is her six month half border collie half kelpie Odo, whom she got after her long time border collie companion Bear moved into her next universe.

Wendy is bemused by how strangers she meets insist that she lives in a teepee, is vegetarian, abstains from alcohol and meditates every day. It isn’t the case but she doesn’t worry: “they project on to people they don’t know but have accessed through lyrics or photos.

Wendy is currently writing her next album, to release through her own Barking Bear record label.

Two people in her life intensified Wendy’s living her life according to her own rules.

One is her mother, another free spirit, a one time art student who taught special needs children and, now at age 89, conducts eight classes of yoga a week.

The other is late US modernistic painter Georgia O’Keeffe, who left her husband and New York City to live in the desert by herself in a once-abandoned hacienda in Abiquiú, painting the New Mexico landscape and animal skulls.

Wendy who still has a photo of O’Keeffe on her table for inspiration, and who made regular pilgrimages to her home and museum, wrote the song ‘Georgia’s Song’ which is also on the tapes.

“In the song I tried to convey her love of the desert and her single-mindedness (she had trouble being a wife in the city of New York, which I could relate to), her independence, her strengths, and how you can be different from the crowd and still be inspiring to many others.

“I live very remotely up in the mountains and I couldn’t care less what people think of me. I’ve taken aspects of her life and made them my own.”

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
258 Hits
0 Comments

RUSSELL MORRIS and the RUBES LIVE at the PALLADIUM 1982

RUSSELL MORRIS and the RUBES LIVE at the PALLADIUM 1982

BLACK BOX     relief logo     desk tape series logo 


RUSSELL

MORRIS

and the RUBES

LIVE at the PALLADIUM 1982

TAPE TO BE DROPPED 1st March.

Russell Morris and the Rubes LIVE at the Palladium 1982, is the 13th release of the Australian Road Crew Association’s (ARCA) Desk Tape Series.
 
Russell Morris 1500
 
The successful ARCA Desk Tape 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 roadies and crew in crisis.

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

Thanks to Greg Noakes for the photos, Nprint for the cover artwork, Phil Dracoulis for the mastering and Russell Morris and the Rubes for supporting roadies and crew.

The live tapes are made straight off the mixing desk and made by a road crew member, in this case their sound engineer Mark "Ramjet" Williams, who did the sound for the band for 12 months.

The Russell Morris and the Rubes LIVE at the Palladium, 1982 tape and all the ARCA Desk Tape Series recordings are available through:

https://ffm.to/liveatthepalladium1982     (Please paste into browser if it fails to work)

Amazon
Anghami
Apple Music / iTunes
Boomplay
Deezer
MGM
Pandora
Shazam
Spotify
TenCent
Tidal
TikTok
YouTube Music
 

The Crew:
Mark Williams (sound engineer)

The Band:
Russell Morris          (vocals, guitar)
Bruce Haymes         (keyboards)
Max Chazan             (guitars)
Spiro Philipas           (bass) (R.I.P)
Rick Puchala            (drums)

The Rubes were formed in 1980 as a vehicle for Russell Morris’ songwriting after he returned to Australia after a lengthy stay in the US.

His early hits like ‘Hush’, ‘The Real Thing Pts. 1, 2 & 3’ and ‘Rachel’ were written by others but he wanted to concentrate on his own work.

“Being a pop star was a wonderful place to be, until I realised I had painted myself into a corner and I lost control of my life,” he admits.

“I decided to sink or swim, and I needed to sing my own songs to have a ring of truth.”

The self-penned ‘Wings of An Eagle’, ‘Sweet Sweet Love’ and ‘Mr America’ continued his run of hits.

‘Wings of An Eagle’ was inspired by Morris’ love for ancient mythology, and how First Australians, Native Americans and early Romans believed an eagle took the spirits of the dead to the heavens.

‘Sweet Sweet Love’ was made up of two songs, inspired by a photo of his then-wife which he stuck up on the wall of a freezing bedsit in London while trying for UK success.

The Rubes formed in 1980 from the ashes of The Russell Morris Band, who imploded through personality clashes between some members.

hqdefault Russell and the Rubes

The new line-up included Bruce Haymes and Max Chazan.  They’d been in a band called The Rubes, so the name was kept. 

The Rubes’ set centred on interplay between Haymes' keyboards and Chazan’s guitars, and did wonders for Morris’ newer songs as ‘Roar Of The Wild Torpedoes’, ‘Surprise Surprise’, ‘Thunderground’, ‘In The Heat Of The Night’ and ‘One Way Street’, all featured on Live At The Palladium.

The set also included hits as ‘Hush’, ‘Eagle’ and a gritty ‘Mr. America’ and album tracks as ‘So Tough’, ‘Love Stealer’ and ‘How We Run’.

Morris says, “They were really good players. What struck me when I heard Live At The Melbourne Palladium was how fast we were playing.

“Those were the times I guess, you had to go rat-tat-tat to get people jumping up and down!”

The Rubes’ music got critical acclaim but mainstream radio refused to play their tracks as they considered Morris – and many of his contemporaries – “old hat”.

Morris says, “I was writing a fair bit. I’ve always written. But unfortunately I was desperate to get The Rubes up and running with some big hit albums, so we could cut back on the roadwork and not get overexposed and I could pay the guys the same amount of money.

“But many writers fall into the trap of looking at what is happening, and you try and chase it.  It’s like trying to catch a boat that’s already left the port. I call it chasing the pied piper.”

However ‘The Roar Of The Wild Torpedoes’ still remains in his current set, and fans who recently discovered Morris through his blues/roots renaissance have hunted down these songs.

By 1983 the five Rubes made a decision: if their single ‘Get It Right’, which they rated highly, wasn’t picked up by radio, they’d call it quits.

Morris remembers The Rubes with great affection.

“Every night during the encore of ‘The Real Thing’ I’d leap on Bruce’s back and play guitar. It was only later that I discovered he had a chronic back problem, and that he wore braces and had to have exercises every day because of it.

“I said to him, why didn’t you tell me, I could have done serious damage to your back. He said, It was part of the show and you looked like you were enjoying yourself’. He’s a lovely man and I adored being with him.

“He was a geophysicist, highly intelligent, who could have made a fortune working for a mining company. But being an environmentalist and a highly principled man, he declined that route.”

Haymes went on to play with Bachelors from Prague and Paul Kelly, and won an ARIA for soundtrack for the feature film Lantana (2001).

Chazan, an economic graduate, made a fortune on the stock market. Puchala went on to work for a trucking company. Philipas died in the 1990s.

What followed was a tough period when the music work dried up. It was a stressful time during which time a marriage broke up. He tried music theatre (Jesus Christ Superstar) and wrote jingles (Island Cooler, the Australian Diamond Company) and teamed up on retro-acts as (Ronnie) Burns (Daryl) Cotton & Morris and Cotton (Jim) Keays & Morris.

These were financially rewarding, but not artistically.  “I thought, no one is interested in my trying to hits, I should just write for myself.

“It was a question of just thinking of what got me into music. The first Rolling Stones album, Robert Johnson, John Lee Hooker, Howlin’ Wolf, Bob Dylan, go back to writing simple songs.”

One day he saw a faded newspaper photo of the criminal Thomas Archer, which virtually spoke to him, “Write a song about me.” It struck a chord and he started writing of real-life Australian characters, locations and experiences.

“It was a real accident but it brought me back out of the wilderness.”

The 2012—2015 trilogy Sharkmouth, Van Diemen's Land and Red Dirt – Red Heart saw him back in the charts and in demand for gigs. He followed up with more successful albums.

People suddenly remembered his songwriting and singing prowess, and Russell Morris went on to be inducted into the ARIA Hall of Fame and Australian Songwriters Hall of Fame and in 2018 given the Order of Australia medal for his services to 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 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
507 Hits
0 Comments

DOUG PARKINSON and The SOUTHERN STAR BAND LIVE at Gobbles. Perth, 1979 TAPE TO BE DROPPED FEB 1st

DOUG PARKINSON and The SOUTHERN STAR BAND LIVE at Gobbles. Perth, 1979 TAPE TO BE DROPPED FEB 1st

BLACK BOX     relief logo     desk tape series logo


DOUG

PARKINSON 

and The SOUTHERN STAR BAND

LIVE At Gobbles, Perth, 1979

TAPE TO BE DROPPED 1st February.

Doug Parkinson and The Southern Star Band LIVE At Gobbles, Perth, 1979 is the 12th release of the Australian Road Crew Association’s (ARCA) Desk Tape Series. 
Doug Parkinson 1500
The successful ARCA Desk Tape 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 crew in crisis.

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

Thanks to Bob King for the photos, Nprint for the cover artwork, Phil Dracoulis for the mastering and Doug Parkinson and The Southern Star Band for supporting roadies and crew.

The live tapes are made straight off the mixing desk and made by a road crew member, in this case their sound engineer Arthur 'AJ" James (R.I.P).

The Doug Parkinson and The Southern Star Band LIVE At Gobbles, Perth, 1979 tape and all the ARCA Desk Tape Series recordings are available through: 

https://ffm.to/liveatgobblesperth1979                                                                                                                       (Please paste into browser if it fails to work)
Amazon
Anghami
Apple Music / iTunes
Boomplay
Deezer
MGM 
Pandora
Shazam
Spotify
TenCent
Tidal
TikTok
YouTube Music

Doug Parkinson is the son of an artist. Doug matriculated from high school with honours in all subjects and was also a prefect at school. He excelled at school in every way including sport (Cricket , Rugby Union and Rugby League) and left school at 18 to become a cadet journalist at Sydney’s Daily Telegraph, and had made it his creed right from the 1960s to always play with the best.

Doug Parkinson helped put together The Southern Star Band which was made up of some of the best musicians in Australia at the time, playing a fusion of rock, jazz and funk. Absolutely brilliant performance.

As the bands singer Doug Parkinson regarded them as being “a little ahead of their time. They were one of the best bands I’ve played with, and with a red-hot rhythm section.”

That included his various bands through the years, including In Focus, Fanny Adams, The Life Organisation and the Doug Parkinson Band, and solo albums as No Regrets.

The Crew:
Arthur "AJ" James (sound engineer) (R.I.P)
Graeme "Rocky" Rothwell (R.I.P)

The Band:
Doug Parkinson (vocals)
Tommy Emmanuel (guitar)
Mark Kennedy (drums)
Frank Esler-Smith (keyboards) (R.I.P)
Keith Kerwin (bass/vocal)

“I started out in garage bands, and had a very casual approach to singing."

“One day I had an epiphany that my voice was my everything, the sole purpose for my being on earth." 

“Early on I realised if you surround yourself with people that you consider are better than you are, then you’ll develop as well. That’s always been my creed."

“That’s why I expanded to doing musical theatre as Jesus Christ Superstar, Big River: The Adventures of Huckleberry Finn, The Buddy Holly Story and Ned Kelly as well, to stretch my voice and see what it was capable of.”

By the time of the Gobbles show, two of the members were poised for worldwide fame.

For Tommy Emmanuel, the Southern Star Band was the first time he’d step out of the country-rock of his band Goldrush, and his exuberant free-up creativity is evident on the live record. 

Parkinson says of the guitarist’s contribution to the band: “He is a master of the instrument, and as we went along, his musical horizons expanded into jazz and rock, he had a very sophisticated and complicated technique.”

After stints with John Farnham and Dragon, Emmanuel moved to Nashville, USA, and became a multi-award winning global guitar hero and received the Member of the Order of Australia (AM) in 2010.

Frank Esler-Smith, who loved classical music and studied architecture in Melbourne, went on to join Air Supply in America, where he made a name for himself as a master strings arranger for their hits. He died of pneumonia in 1991.
001.doug parkinson2    Frank Esler Smith2
Doug and Tommy Emmanuel              Frank Esler-Smith

Mark Kennedy, who as a teenage prodigy on drums emerged with prog-rock Spectrum and jazz-fusion Ayers Rock, went on to greater heights as a player and as a record producer.

Keith "Stretch" Kerwin who started in the Brisbane Avengers, later joined Jon English’s Foster Bros.

Mark Kennedy and Duncan McGuire, a foremost bassist who’d also played in the Southern Star Band, together went on to form a production company and produced some fine songs.
Mark Kennedy     Duncan McGuire Record Plant
Mark Kennedy                             Duncan McGuire

Parkinson remembers the Gobbles show well. “It was a great night! All the hip people from Perth frequented the place and they liked our band.”

At that time the Southern Star Band were aligned with top promoter Kevin Jacobsen, and they were booked for many shows, including on tours by major international acts as Bob Marley, Genesis, the Four Tops and Randy Crawford.

Also at the same time, the band had just had a hit with ‘I’ll Be Around’, a cover of The Spinners’ 1972 one-million seller written by Thom Bell and Phil Hurtt.

Parkinson first heard the song when Ross Wilson played it at a show they did together at Sydney’s Manzil Room, and fell in love with it.

At the end of the show, Parkinson asked Wilson if he had any plans to record it himself, to which came the answer, “No, go for it!”

The song reached #22 on the charts and was the title track of Southern Star Band’s sole album, a steady seller. The album was produced and arranged by Doug Parkinson and the whole Southern Star Band. 
Doug2
Doug Parkinson

The 16-song Live At Gobbles shows off some wonderful interplay between the musicians, especially on ‘Waiting For The Wiz’, ‘I Know A Little’ and ‘You Ain’t Going Nowhere’

It also showcases the astonishing array of songs the band played.

There were band compositions (‘Waiting For The Wiz’, ‘Same Feeling Different Song’) and from various band members like ‘You Ain’t Going Nowhere’ (“it was written by Keith, I thought it had hit all over it and I was heartbroken when it wasn’t”) and ‘I Give You Give Blind’.

Others came from Al Jarreau (‘Midnight Sky’), Paul McCartney (‘Yesterday’), Johnny ‘Guitar’ Watson (‘Gangster of Love’), Lynyrd Skynyrd (‘I Know A Little’) and Neil Sedaka & Howard Greenfield’s lovely ballad ‘The Hungry Years’.

Patti Austin’s ‘In My Life’ was one which Parkinson comments, “I learned so much about lyric writing from that, the way it was a wonderful painting of a person’s emotions in musical terms. Frank did a great string arrangement for the prelude, it still holds up today.”

Dear Prudence has become an iconic song for Doug Parkinson and he still includes it in his shows today. 

At the time, Parkinson’s band In Focus had become one of the biggest live acts in Melbourne.

A tour manager friend of his who was visiting London brought back a copy of White Album which had not yet been released in Australia.

“That album is still among my favourites of all time. It had great songs but ‘Dear Prudence’ leaped out of the page for me. We started to play it at our shows and the crowds went crazy.”

However the A&R exec at his record company didn’t see its hit potential and refused to release it.

An argument ensued and the singer called his bluff by threatening to cancel their contract.

To his horror, the exec agreed and Parkinson was left flabbergasted … and without a deal!

However he went around the corner to the offices of EMI, whose A&R executive Cliff Baxter loved it as soon as Parkinson played it to him. 

“The next thing I knew I was driving around in my car and it came on the radio, and it was the biggest thrill."

“It became a Top 5 hit. I was always grateful to that song because it kept me going through the ups and downs of my career.”

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
645 Hits
0 Comments

Crowded House LIVE '92-'94 Part 2 Tape to be dropped January 1

Crowded House LIVE '92-'94 Part 2 Tape to be dropped January 1

                                    

Crowded House

LIVE '92—'94 Part 2

TAPE TO BE DROPPED 1st January

Crowded House LIVE '92-'94 Part 2, is the eleventh release of the Australian Road Crew Association’s (ARCA) Desk Tape Series. Part 1 was released on December 1st.

The Desk Tape 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 Nick Seymour for the cover illustration, 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 Angus Davidson and Bruce Johnston.

The Crowded House LIVE '92-'94 Part 2 tape and all the ARCA Desk Tape Series recordings are available through:

https://ffm.to/crowdedhouselivepart2         (Please paste into browser if it fails to work)

Amazon
Anghami
Apple Music / iTunes
Boomplay
Deezer
MGM
Pandora
Shazam
Spotify
TenCent
Tidal
TikTok
YouTube Music

Crowded House were a band that were more about running than standing still. Which is why it’s so difficult to define or describe their music.

There was a certain impetus about what they did. Neil Finn remembers that at their very first rehearsal, at Factory Sound in South Melbourne, they came up with ‘Recurring Dream’ – one of their most loved live staples, and which kicks off Crowded House LIVE '92-'94 Part 2.

Through the years, Neil (full name: Neil Mullane Finn), jumped from project to project, from solo to duo to various collectives. Crowded House was never about polishing what they achieved but tinkering with the parts and working out how to make them evolve to the next reel. It made them indispensable.

Nick Seymour once described the making of one of their tracks as “a jigsaw puzzle”. In many ways that description could be applied to all, if not, most Crowded House tracks.

In the liner notes of the Crowdies’ greatest hits set, Recurring Dream, journalist Peter Paphides tells of the times when the late British comic Spike Milligan was having a nervous breakdown, lying on his bed crying uncontrollably, when his baby daughter came to him carrying a glass of water.

The journalist wrote, “She wanted to give something. Something to make it alright. This was all she could find.

“A while ago someone asked me to sum up the music of Crowded House. For some reason, I responded with that tale – perhaps because it’s simultaneously the saddest and most uplifting thing I’ve ever heard.”

On Crowded House LIVE '92-'94 Parts 1 and 2 the band was comprised of :

          Neil Finn
          Nick Seymour
          Paul Hester
          Mark Hart

‘Fall At Your Feet’, one of the stand-outs of the Woodface album, is a radio, talent quest and karaoke favourite and been covered by many artists.

It’s seamless pop but it came together in the studio from the fragments of two songs that the band was having difficulty with. This was the song that Seymour described as a “jigsaw”.

On the SBS documentary series Greatest Australian Albums, Finn described what he was trying to achieve with the song: “It was really that moment post a conflict or a struggle, when you sense a great sadness in the person you’re with ... where you want to offer yourself as some kind of sounding board or a weeping wall. You want to take all their sadness, especially if you’ve been responsible for some of it.”

With lines like “The finger of blame has turned upon its self and I’m more than willing to offer myself. Do you want my presence or need my help. Who knows where that might lead?”, Crowded House fans remain divided on whether it was about Neil’s elder brother Tim who left the band midway through a UK tour, or drummer Paul Hester who would take his life in a Melbourne park after the band split.

Another hotly-debated line is the relevance of the address 67 Mt Pleasant Street in ‘Weather With You’. When we asked Neil how many of his songs started at the house, he replied, “Every city has a Mt Pleasant St but I’ve never lived in one.”

However Neil and Tim’s sister did live at Mt Pleasant Road in Auckland but not at that number.

Neil says it was Tim who came up with the lines "Everywhere you go, you always take the weather with you" and "Walking round the room singing 'Stormy Weather'” and explains, "Ultimately, the theme of the song is of course, that you are creating your own weather, you are making your own environment, always.”

‘Four Seasons In One Day’ is the second most famous global song about Melbourne’s ever changing weather, the first being The Beatles’ ‘Rain’ penned by John Lennon during The Beatles Australian tour in the ‘60s.

Debate remains to this day as to whether the Beatles’ “Rain” is about Sydney (it was pelting down when the band arrived off the plane) or Melbourne.

‘Four Seasons In One Day’ came together quickly in a house in East St. Kilda in Melbourne. It was actually written for a Finn Brothers record. But when Crowded House’s US label Capitol rejected many the songs Neil had written for the third album Woodface with Seymour and Hester, Neil asked Tim if some of their songs could be used in the band’s 1991 record.

‘The World Where You Live’, the first international Crowded House single, was inspired when Neil was staying at his manager’s house in Los Angeles. He’d be woken up around 6 am when the woman next door enjoyed very loud sex. He never met her, but lines like 'I don't know where you go, do you climb into space, to the world where you live,' was just speculating what was going on there.

The first verse of ‘Into Temptation’, “You opened up your door, I couldn't believe my luck”, started about the time when a (male) rugby team and (female) netball team were staying in the same motel as he, and the two teams started drinking heavily in the bar and pairing off.

When Finn returned to his room he thought he heard a knock on his door. When he opened it, he discovered the netballer was trying to get into the room next door. The chorus was about how in the wake of an earthquake in Los Angeles, some people thought it was a punishment from God for the city’s hedonistic lifestyle.

The other songs on Crowded House LIVE '92-'94 Part 2 are ‘There Goes God’, ‘Love You Till The Day I Die’, ‘Black And White Boy’ (according to fans, it was either about Paul Hester or Neil’s dalmation dog Lester), ‘Private Universe’, ‘In The Lowlands’, ‘You Can Touch’ (initially a Japan-only release), ‘I Feel Possessed’, ‘Nails In My Feet’ (apparently Neil feeling the pressure of stardom), the Hester-penned ‘Italian Plastic’ and ‘When You Come’.

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
695 Hits
0 Comments

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)

Amazon

Anghami
Apple Music / iTunes
Boomplay
Deezer
MGM
Pandora
Shazam
Spotify
TenCent
Tidal
TikTok
YouTube Music

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

Continue reading
1363 Hits
0 Comments

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



  




 
Continue reading
1071 Hits
0 Comments

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
3016 Hits
0 Comments

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
1882 Hits
0 Comments

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
1416 Hits
0 Comments

Latest News

those we miss

Coming Events

No events

facebook CREW ONLY 256

facebook soundcloud vimeo