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REVIEW | Bon Iver | Sydney Festival

January 25th 2009 14:00
Venue: City Recital Hall, Angel Place, Sydney

Date: 22nd January, 2009

Sydney Festival 2009

Bon Iver


Photo | Tim Lytvinenko



Bon Iver are a four piece band, Justin Vernon, Mike Noyce, Sean Carey, Matthew McCaughan, who come from North-western Wisconsin, USA. The force behind the group is singer-songwriter and multi-instrumentalist Justin Vernon who has been making heads turn by producing an album, Emma, forever Ago, with very little technology, a few instruments, and realizing an amazingly unique pastiche of sound. The moniker Bon Iver is an Anglicization and purposeful misspelling of the French greeting bon hiver which means good winter - a greeting he came across while watching Northern Exposure*.

These current songs developed out of the turmoil of the break-up of both Vernon’s long-term relationship and his band DeYarmond Edison(1). He stayed in his fathers' cabin, it was winter, and he was recuperating from liver disease. The songs were only meant to be demos to send to record companies to see if they would produce them but they received such an overwhelmingly agreeable response that Vernon decided to put together a band and start performing them. This was no easy task as the main song For Emma, Forever Ago, according to Vernon, needs a chorus of 80 - 500 people; he gets around this by having the audience sing and therefore the song takes on its' own life unique to the vibe of that room.(2)


The sound created by Bon Iver is unique. Vernon’s’ falsetto, which he uses on most songs and is a recent development in his repertoire, brings an angelic quality to the sound and is balanced out by the deeper harmonies of the three other musicians. Together their vocals are reminiscent of the complexities of country rock greats like the Amazing Rhythm Aces, Charlie Daniels Band and the like. Musically there is a mixture of instruments, guitars, organs, two drum kits, and bass guitar but they are not always used in a traditional manner. Quite often the instruments are used to give a percussive dissonant texture and at times the drum kits are played in opposing rhythms building to a powerful, driving, crescendo. As a sound the devises they use are refreshing and their performance is uncomplicated worth seeking out.

Peter McGill


(*) Northern Exposure at Wikipedia
(1) DeYarmond Edison
(2) Pitchfork Interview


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Review | All Tomorrows Parties

January 24th 2009 23:56
All Tomorrows Parties

Cockatoo Island, Sydney Harbour
18th & 19th January, 2009.
Sydney Festival 2009





The Sydney Festival 2009 brought an awesome event to east coast Australia by way of ALL TOMORROWS PARTIES (ATP) which is a development in the staging of music festivals. The name itself comes from the Velvet Underground album and song of the same name which was written by Lou Reed. The song was written in response to Reed’s observations of the hangers on in Andy Warhol’s Exploding Plastic Inevitable multimedia event tour in 1966 of which The Velvet Underground were taking part. (1)

The first of these events was held at Camber Sands, England in 1999 as an alternative to the larger more conventional events on offer. The main ideas were that it would be held in an intimate venue (usually outdoor) and the headline artists, be they musician or occasionally visual, would curate the festival by inviting their favorite performers to perform. In essence it was to be like an insight into the headlining acts own music collection, per se. Another aspect of the event was that originally, being in an intimate outdoor environment, there was an attempt to blur the personal distinctions between artists, producers, and punters. They would all stay in the same accommodation, (2) and they were to be a sponsorship free event.

The headline act and curators for ATP Australia 2009 were Nick Cave and The Bad Seeds, Australia’s seminal eclectic punk rock outfit and there choice of cohorts was inspiring.

Though it wasn’t possible to see everything on the bill there was plenty to choose from. A diverse mix including electronica - Spiritualized, visual art – Louis Wain, bluesman – James Blood Ulmer, and heavy soul – Afrirampo to name a few.

For the whole line up you can go to the Sydney Festival 2009 homepage. What I can tell you about are the acts I did get to see.

First up was Hoss, a Melbourne hard-rock outfit that pumped up the volume from the start and delivered an abundantly driven rock set, they were powerful and gusty. The Geyer Zone was an instillation in a tunnel which consisted of minimal lighting and a soundtrack that could barely be heard over the bands outside, so for me that was a bit of a lost experience. Michael Gira comes from New York City and was a founding member of the industrial-rock band Swans. In this incarnation he was without a band and performed solo with guitar and vocals. Don’t be fooled by that description though, he’s solo performance consisted of loud and gritty vocals accompanied by distorted gutsy six string brutality. His emotive delivery was well received. Harmonia are a mesh of ex-members of German bands such as Kraftwerk, Neu!, and Cluster. As you can guess their set was resplendent with electronica. They were a welcomed separation to the hard rock on offer. Robert Foster of the Go-Betweens provided an entertaining set with some fine memories of the eighties.

The Saints had not been seen together by Australian audiences since 1977. They rejoined to do a gig celebrating Brisbane’s music in 2008. With the original line-up of Chris Bailey, Ed Kuepper, and Ivor Hay, joined on bass by Archie Larizza. They played exactly what the crowd had come to hear, playing ‘(I’m) Stranded’ and other well known favourites.

The band we all came to see, Nick Cave and The Bad Seeds, gave a blistering performance delivering all the songs they are celebrated for including “All Tomorrows Parties” and “The Weeping Song”. They were all in fine form and brought the festival to a satisfying crescendo.

That wasn’t the end of the night though. Some stayed on to catch the latter performances that went on until 1:00 a.m. including The Reels.

It must be said that this was an event that will go down in the memories of the lucky few who got to experience it. The Sydney Festival 2009 not only pulled off this coup d'état in festival composition but the support arrangements were also first class. The venue, who could beat Cockatoo Island in the middle of Sydney Harbour on one of Sydney’s glorious summer days, the food was way out of the ordinary, the beverages were affordable and of high quality, and there wasn’t a line-up of more than 10 people for any of these necessities as well as the amenities and most of the time there was no line-up. I congratulate Sydney Festival 2009 for achieving such a high standard in celebration – it was an excellent event and a huge success!

Peter McGill.


(1) Wiki:

(2) Wiki:



Sydney Festival 2009


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REVIEW
Fri 21 Nov, 10pm
The Gov, Adelaide


MARTHA WAINWRIGHT

Martha Wainwright is a wonderful singer and her down to earth personality is always somewhat droll. She bemoaned that she'd spent the day in Adelaide in bed, and joked about the whole serial-killer thing here... until a local shouted out that we were all "glad to see her", when she got the idea it would be best to move on. That she certainly did, without leaving any strange question hanging of why that sort of a joke she simply requested more beers for the band and got on with the show. It was a windy balmy night in serial killer central, and we were out in force to appreciate the great and spirited Martha.

Her new material mixed in with her old, and her voice as ever captures great depth and emotion. Perhaps some of the melodies she naturally resounds creep over from one song to another, but I think it's that lilt and stream of sounds that ground her, and us in the listening.

I couldn't say I've seen her all by herself before, so I did hanker for moments in the past when I've seen her in concert with brother Rufus and mother Kate, or on stage for Came so far for beauty at the Opera House in 2005. However having said that - she held her own without the need of any support as such, and the support she received from the band was excellent.

I think everyone at The Gov had themselves a great and adorable time in spite of a cold and windy night, Martha shared the great resonance of her warmth and noone went homew without a special glow.

David Jobling



MARTHA WAINWRIGHT IN AUSTRALIA NOVEMBER

I interviewed her brother Rufus when he was over and the two of them were doing the Leonard Cohen Tribute, Came so far.... Make no mistake both siblings are great on stage and I'd say it's because they have both been involved in the music and entertainment industry on account of their show biz folks, since they were kids. This will be a concert not to be missed.

David Jobling



“Martha Wainwright excels at both singing and songwriting, and earns herself a spot among this decade’s foremost performers.” Popmatters.com

“…a grand, glowering gravitas – part Patti Smith, part Leonard Cohen” Uncut Magazine

“…taking music and wringing from it a startling wealth of shiver-inducing moments.” Pitchfork Media

“Wainwright moves amid prettily finger-picked folk-rock and more eccentric arrangements” NY Times

“…her stage presence suggests several things at one time - defiant and strong, yet with an edge of sadness and vulnerability as well.” Spin Magazine

As part of the famous Wainwright/McGarrigle musical dynasty, Martha Wainwright was engulfed in a sea of music from childbirth. But the Brooklyn-based chanteuse has cemented her claim as a bona-fide artist in her own right.

Following the release of her sophomore album, I Know You’re Married But I’ve Got Feelings Too, Martha Wainwright and her full band are returning to Australia in November 2008.

Disbanding her initial career choice as an actor when she realized her priorities lay with songwriting, the Montreal native moved to New York City where her burgeoning singer-songwriter career began. Performing in bars and coffee-houses across the city, her signature raw stage presence blossomed and bloomed into the rousing live performer we see today.

With a constantly changing timbre of depth, Wainwright displays a remarkable polarity between songs of harrowing despair that also show a sense of spontaneity and playfulness. It is this striking mixture of light and shade and her ability to conceptualize, tackle and achieve dynamic arrangements that marry so beautifully with her heartfelt lyrics of remarkable candour and acrimonious humour.

She can, within a single verse, play both angel and demon.

On Wainwrights’s second album, I Know You’re Married But I’ve Got Feelings Too, she is joined by legendary figures including Pete Townsend, The Band’s Garth Hudson, Donald Fagen from Steely Dan, as well as Rufus, mum and aunt Kate and Anna McGarrigle respectively, and cousin Lily Lakin - another rising star of the lineage. Though an impressive lineup, they serve as a backdrop to what is a compelling one-woman show.

Embarking on a European tour with her band in October before heading to Australia, this show is one not to be missed.

AUSTRALIA TOUR DATES – OCTOBER 2008
Wed 12 Nov Enmore Theatre, Sydney
ticketek.com.au 132 849
Thu 13 Nov The Forum, Melbourne
ticketek.com.au 132 849
Sat 15 Nov Meeniyan Hall, Meeniyan
lyrebirdartscouncil.com 03 5664 9239
Tue 18 Nov The Tivoli, Brisbane
ticketek.com.au 132 849
Wed 19 Nov Wrest Point, Hobart
wrestpoint.com.au 1300 795 257
Fri 21 Nov The Gov, Adelaide
thegov.com.au 08 8340 0744
Sat 22 Nov Fly By Night, Fremantle
moshtix.com.au 1300 438 849
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Review | POEM OF KUNGFU

October 28th 2008 08:24
EVIDENTLY THIS SHOW HAS BEEN CANCELLED


Review | Poem of KungFu - Nine Scrolls

Star City Theatre – Star City Casino, Sydney
Thursday, 23rd October, 2008.




Poem of Kung-Fu is a journey through nine scrolls, Purity; Sutra; Diligence; Intelligence; Listening; Shape; Calmness; Devotion; and Paradise. The director, Liu Zhen, has created an exciting mix of martial arts, dance, and story telling that gives an insight into the touching journey of a young monk from his initiation, through the hardship of a lifestyle which is fraught with peril, to his self-realisation.

Kung-Fu is a generic term for the martial arts of China and is most notably known as Shoalin Kung-Fu. Originally called Ch’uan Fa which means ‘fist way’ it was known as a combat art in various parts of China until it began to develop in the Shoalin temples by monks whose main purpose for being in a monastery was to take refuge from the law. There were five styles of Kung-Fu which evolved in five Shoalin temples located in five provinces. Later it divided into two distinct schools, north and south, which was relevant to the two strongest Chinese cultures, Mandarin in the north, and Cantonese in the south. The style of movements became directly related to the physiology of the practitioners, that being those in the south using low stances and kicks with fast hand techniques because of their shorter stature, and those from the north developed restricted hand movements, due to the nature of their thicker clothing necessary for warmth, and strong leg movements including acrobatics with multiple kicks.

In this production there are twenty seven performing practitioners who will amaze you with their athleticism and precise techniques which have been orchestrated into a dance and movement work of art. There are several main artists leading each segment and two principal performers around which the story revolves, Master Li Brolin, the guiding monk, and Maio Shuaifeng, the apprentice, who at just ten years old accomplishes everything the elder monks execute and more.

Each Scroll is preceded by a potent narration told by actor Tony Barry and expressed in music by pianist Ester Balasch Lozano and vocalist Cherie Valaray. Poem of Kung-Fu is an awe inspiring work, an exciting night at the theatre with astounding physical feats through a poignant journey with humour and insight – a great nights’ entertainment!

Peter McGill


Star City are proud to present for the first time ever in Australia

POEM OF KUNGFU - Nine Scrolls




- a spectacularly original dance theatre piece direct from Beijing that combines Chinese KungFu with Chinese dancing.

This award winning production will take you on an historical and cultural journey featuring 27 performers, including 10 year old Miao Shuaifeng and star of the show Li Bolin, extraordinary physical movements, original dance routines amid a sea of vivid colours.

POEM OF KUNGFU - Nine Scrolls will be seen at Star Theatre for a limited season opening on Thursday 23 October.

POEM OF KUNGFU will be directed by well-known Chinese Body Art Master Liu Zhen who explains:

We have chosen to call this POEM OF KUNGFU Nine Scrolls because poetry is like Kung Fu, it can be abstract and real at the same time. The Nine Scrolls (Purity, Sutra, Diligence, Intelligence, Listening, Shape, Calmness, Devotion, Paradise) are presented like a poem of prose taking the audience on a journey through joy, sadness, anger, euphoria; one moment mystical, full of grace and whimsy, the next powerful and dramatic.

Life's daily rituals, such as the simple act of drinking a bowl of soup are transformed into a magical experience that will have audiences laughing one moment and gasping the next as they witness the masterful choreography and daring exploits of these highly skilled performers.

Venue: STAR THEATRE

Star City, 80 Pyrmont Street, Pyrmont

Preview: Wednesday 22 October 2008

Season: Thursday 23 October

Performances: Wednesday to Saturday 8pm; Saturday 2pm; Sunday 2pm & 6pm
Prices: $49.90 to $79.90 plus special Schools price $39.90
$199 Family of four includes full gourmet Buffet

Bookings: 1300 795 267or ticketmaster.com.au
Groups of 8 (02) 8512 9020
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Phillip Johnston and the Coolerators


VENUE: Riverside Theatres

DATE: Sunday 4 October at 7.30pm 2008

Parramatta Riverside Theatres

Phillip Johnston is originally from the U.S.A. and now lives in Australia. He is an accomplished saxophonist as well as being an arranger and composer of jazz and contemporary music; he has also composed for a multitude of genres such as silent film, theatre, and dance and been the force behind the ensembles the Microscopic Septet (whose back catalogue was re-released in 2006 by Cuniform Records), Big Trouble, and The Transparent Quartet. He recently collaborated with Hilary Bell, who wrote lyrics, on the silent film soundtrack Faust by F.W. Mumau, and has taught composition at the Steinhardt School of Music at New York University.
Caricature by Mathew Martin
Sam Golding on the tuba adds a dynamic bass note that accentuates the swing elements and balances the timbre of the group. His musical interests include Senegalese Mbalax, Cuban Son, Caribbean Steel Pans, Cabaret, Symphony Orchestras, Classical Brass Trios and Classical Hindustani Bansouri, and Reggae. Other groups he has performed with are Jackie Orszaczky’s Budget Orchestra, Chosani Afrique, Monsieur Camembert, Sydney Conservatorium Big Band, Nadya Golski and the 101 Candles Orkestra, The S-Bend, and the Sydney University Orchestra.

jazz and swing with a splattering of funk
that is all class

Peter McGill


Toby Hall's percussion provides an abundant backbone for the quartet. Highly sort after as a drummer he has worked with the cream of Australian jazz musicians, Don Burrows, Paul Grabowsky, Bernie McGann, Phil Slater, and Vince Jones amongst the mix. He has also been engaged by top international artists such as Charles Mingus, Doug Cameron, and Sheila Jordan. Hall’s ability to play intuitive intricate rhythms and time signatures on the backbeat with distinctive and stylish elegance is an exciting feature of the group. His personality on stage also brought a welcome element of humour to the night’s entertainment.

Alister Spence is well known on the Australian jazz circuit with his group the Alister Spence Trio. He is a pianist and composer of renown and has also worked with Don Burrows and Bernie McGann, as well as a diverse range of Australian music luminaries like Ed Kuepper, Archie Roach, Paul Capsis, and Dale Barlow. He co-led the internationally recognised Clarion Fracture Zone and has contributed richly to the Australian recording industry with many of his contributions winning Australian Jazz Album of the Year.

Phillip Johnston and the Coolerators are consummate musical artists, they present a unique style of jazz performance that is relaxed, smooth, and eloquent with phrasing that bursts forth intricate improvisations in jazz and swing with a splattering of funk that is all class - for the uninitiated and jazz aficionados alike a delight to imbibe.

Peter McGill



Band Website

Band Members
Phillip Johnston: alto, soprano saxophones
Alister Spence: organ
Steve Arie: bass
Toby Hall: drums
The Coolerators is a Sydney-based quartet, led by New York expatriate Phillip Johnston, combining the organ-based “groove jazz” style identified with Jimmy Smith, Brother Jack Macduff & Dr. Lonnie Smith with more contemporary and idiosyncratic influences.

The repertoire features originals and reinvented cover tunes. It features some of Sydney’s best-loved jazz musicians: Alister Spence, organ, Steve Arie, bass, and Toby Hall, drums.
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WICKED | Vale | Rob Guest

October 3rd 2008 22:04
VALE | Rob Guest (1950 - 2008)

Rob Guest (1950 - 2008)


Much loved and greatly talented thespian Rob Guest has passed away. He had been at home with his partner Kellie Dickerson, Wicked's musical director, when he collapsed about 10pm on Tuesday. In true theatre style, the show must go on, and so the Wicked cast did it with 'Guesty' in heart and mind as understudy Rodney Dobson played the Wizard, the role Guest had been performing.

Guest, 58, suffered a massive stroke on Tuesday evening in Melbourne and died early Thursday in St Vincent's Hospital after he was taken off life support, surrounded by family and friends.

The first unexpected news reports revealed his condition to be extremely grave; family, friends and fans drew their best attentions towards the well traveled actor and singer who started his life journey in England and was awarded an OBE for his services to the New Zealand entertainment industry later in life. Guest found success in USA then New Zealand as a pop star before arriving in Australia to perform in Les Miserables some years ago.



As well as Les Miserables and roles in many other shows, Guest spent seven years in the lead role as the Phantom of the Opera, performing over 2,000 performances.

Guest, relocated to Melbourne from the Gold Coast when he took the role in Wicked.

When he shall die
Take him and cut him out in little stars
And he will make the face of heav'n so fine
That all the world will be in love with night
And pay no worship to the garish sun.
~William Shakespeare, Romeo and Juliet


The inaugural WICKED DAY will be held on Sunday 26 October 2008 at the Regent Theatre. WICKED will join forces with ANZ and Starlight Children's Foundation to create some WICKED magic for seriously ill children and their families.

This exclusive event includes a never been seen before pre-show experience hosted by Australian Producer John Frost & a ticket to the 1pm performance of WICKED (children are welcome).

Limited tickets available at $250 per head, subject to availability. Proceeds donated to the Starlight Children's Foundation. To book, please contact Ticketek Groups on (03) 9299 9030.


The official companion to the Broadway Musical
Wicked:The Grimmerie
By David Cote



This Hyperion Book is the readers master class to Wicked the stage
musical; it contains the story of the show, how it came together, the songs, the characters in breakdown and a great deal of excellent photography showing various props and set elements. It's more than a superficial look and will delight those already planning to travel
East for the Australian cast version of the show. New musicals are not exactly rare – but ones that actually entertain an audience and provide something new and engaging don't come around all that often. As one follows the yellow brick road to Wicked early on in the book it's made clear The Wizard of Oz by L. Frank Baum is the initial
inspiration to Wicked (first the novel, then the stage musical) and
much is made of the timeless characteristics of that original font of
all things Oz.

The question 'Are people born wicked?' drives the subtext of the musical and to some degree it begs the answer 'Are people born American?!' which is not to suggest that Americans are wicked, but that the story is very American, and a fascinating reflection on the shifting standards and morals between the satirical original Oz stories and today's inspired revisiting of that wondrous place.

Wicked: The Grimmerie
will provide solid insights for High School Drama students as well as anyone who wants to study theatre production or get swept up in the strikingly green world of Elphaba (she destined to become the Wicked Witch) and her salad days.

David Jobling
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REVIEW | Risky Lunar Love

September 22nd 2008 04:19
Luke Milton’s
Risky Lunar Love

Directed by John Sheedy

Reviewed by Peter McGill



RISKY LUNAR LOVE
CarriageWorks’
Bay 20 theatre
limited season.

Risky Lunar Love is written by Luke Milton and made its' first appearance in 2002 as a university project in Perth. The concept is a musical theatre sci-fi extravaganza which involves a sex goddess from outer space who has a whole planet of Venus babes that need seeding. The goddess manipulates two rival earthbound sci-fi writers into being her donors but before she commits to either one she has to be sure that they are up to the task.

The show is risqué, with an 18 rating, funky, retro, sci-fi, and contemporary. While Milton’s script is pure unashamedly 50’s sci-fi B-grade movie the production design by Gypsy Taylor, who has worked on Moulin Rouge, is a blast fusion of 50’s retro kitsch with a neon contemporary vogue. It has twists and turns, astounding characters, and Rabelais-esque debauchery all over the place, all driven by the magical powers of a Tiki.

There is a potent sense of familiarity with the Rocky Horror Picture Show in the storyline as well as the stylized movement and choreography by John O’Connell who has also worked on Rocky Horror and Moulin Rouge.

A highlight of the production is the live original music. Brent Hill wrote the basis of the score then collaborated with Ross Johnston, from Machine Gun Fellatio. Together they worked on seventeen of the eighteen musical numbers. The band and the music are a dynamic powerhouse of auditory sensation. The musical virtuosity carries the action and adds to the funky flavour.

Director John Sheedy has melded these elements and realized a wacky, out-there, sexy, sci-fi romp which is trying hard to push the boundaries of musical theatre. The performers work well as an ensemble.

Risky Lunar Love is an exciting new Australian adult musical.

Peter McGill.


Risky Lunar Love
Writer Luke Milton
Director John Sheedy
Producer Oliver Wenn
Original Music Brent Hill
Musical Director Ross Johnson
Choreographer John O’Connell
Designer Gypsy Taylor
Cast
: Eliza Anderson, Don Christopher, Shannon Dooley, Ryan Gibson, Sheridan Harbridge,
David Hynes, Julia Ohannissian, Mark Pound, Emma Palmer, Nick Simpson Deeks, Lauren Rutherford, Melle Stewart, Lucy Taylor, Amy Usherwood, Sophie Webb.

Carriageworks Bay 20 Theatre

From Monday 15 September
15 September- 4 October
Media night Thursday 18 September
Tue - Fri & Sun 8pm, Sat 5pm & 9pm.
Preview Monday 15 September $29.00(Unreserved)
Function Nights 1 & 2- $35 Stalls & $45 Table (Unreserved)
A Reserve $45.00
B Reserve $30.00
Premium Reserve $55.00
Tables including food and wine service
Table $95 per head (min two persons)
Group of 4 $365
Group of 8 $720.00
Menu options available when booking
Bookings: ticketmaster.com.au or 1300 723 038



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REVIEW: The DC Vault

September 3rd 2008 13:32

The DC Vault
by Martin Pasko




Everywhere you look, on every surface imaginable one way or another there is an image from the world of DC Comics and that’s just the way they like it over at DC. This new book The DC Vault is a complete beauty as far as the art work and treasures it holds goes.

I’m a little skeptical about the ring-binder style of publication, it’s practical to a point but a little frustrating because you have to be quite careful with it; not as tear-proof as Superman’s cape. I guess that contributes to the sense of ownership and its special status as an interactive object. Obviously a book is an interactive object, but this one more so than the average because it contains a variety of awesome little treasures inside plastic slips; so in the act of reading the book, or even simply looking through it, one is tempted consistently to pull out each of the treasures and have a look. It’s something you unfold and avoid damaging. Speaking of the treasures I have to say I was a bit flabbergasted with delight.

Excellent objects such as: The No.1 Action Comics cover; great artwork. Spicy Detective cover, Passion Killer (1922); what a rare little hoot this is. Face down but searching up with her eyes, a woman bound at the wrists on a red rug with a dead match on the wooden floor. No wonder there was such a close watch on comics from the moral majority. Double Action Comics #2, Ashcan (January 1940) a great reproduction. A Batman Mask reproduction from 1943; cute as. Wonder Woman Button (May 1942) reproduced as a sticker, so you’ll have to decide yourself if you want to peel and stick it or not.

This is a collectors dream. A reproduction of original artwork by Joe Kubert (1976) with a deliciously devilish story referenced. A Wonder Woman Bookmark (1987); I love that the princess is saying reading is strength, and DC Moving Notice (1980) another fabulous plaything, wonderful artwork. Shazam Cellophane Button (1972) reproduced as a sticker; Shazam is Coming. It’s magnificent stuff with the freshest from the vault feeling you could hope for.

There’s a great insight into the whole DC Comics universe which means television and animation production as much as publishing comics. What a remarkable thing was The New Adventures of Wonder Woman in the 1970’s. Lynda Carter cut a fine figure, but possibly not as fine as Jenette Kahn the incoming manager in 1976 who led a shift in the entire comic industry between 1976 and 2004.

How much do people love the comic world of DC Comics? Plenty; for example when the publishers decided to create a story called Crisis where various planet Earths in the Multiverse are crashed together, and a range of super heroes are brought together onto one planet Earth it created a bridge for readers into the stories of characters they’d never considered to read. Some readers were annoyed by it, but others responded by publishing an index in two volumes of the whole thing. That’s love, dedication and wonder.

If you know little or nothing of this vast world, here in the Vault is the best place to start; highly informative and containing a beautiful reproduction of the History of the DC Universe Poster (1987) with everybody’s favourites all in one big group. For a considerable period of time there was censorship in cartoons in the form of the Comics Code and you had to publish outside the seal of the code if you wanted to publish horror or crime titles. Once the Time Warner merge happened in the late 1980’s DC Comics promised to pour many fine stories into the Hollywood machine…

The Batman Movie changed a great deal for Warner and DC as well as Michael Keaton who rode a few good lead roles on the dramatic trail after his moody portrayal. I personally will always love Jack as The Joker; a Joker for the time. Just as Karen Berger was clearly the woman to step up on the helm of new imprint Vertigo in 1993. Over the years from the start until now there have been some fine items left in the DC Vault, something to continue to treasure for every comic lover who will want this very much.


David Jobling

The DC Vault, published by Running Press, distributed by Bookwise International RRP$65.00 Available now in good bookstores.

dccomics.com
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Cassingle is the new CD!

July 16th 2008 06:12
David McCormack


Cassingle
is the new CD release from David McCormack. It is something to nibble on whilst you are having a pre-dinner drink. Expect a full album later in 2008. And DON’T PANIC if you have NO IDEA how to create your own cassette from this CD, Jewel Case and (He)artwork – David has kindly supplied all the necessary instructions in the 10 How To Tips supplied. You might need to look up a dictionary under “cassette”. Others will fondly recall their first time recording a record to cassette many years ago.

The Cassingle is essentially a 6 track EP. And whilst McCormack has produced each track you will also hear that Wayne Conolly and “Master” Magoo have lent a hand here and there, as, well now old mates and cohorts to love to work together, even on the smaller projects. They too cannot help themselves but have something to nibble whilst having a pre dinner drink! New name to some, Wes Chew makes an appearance in the recording process.

First cab off the rank is the gorgeous I Don’t Even Know Where To Start With This Kind Of Music, an instant McCormack classic along the lines of Beck’s Sea Change. It is a hazy meditation on loneliness, music and the passing of time. Backed on this track by his long suffering backing group, The Polaroids and mixed by Magoo, McCormack’s rarely sounded better.

Next up we have two tracks recorded in one evening with a pick up band in Kings Cross. The song writing and the playing is wild and free, just the way we like it. Text Book and A.V.O. have to be heard to be believed. Track 4, Hey Lord sees McCormack entering into some quasi-religious material. Think Tom Waits catching a bus with the Flaming Lips and you’ll be about half way there. At last, the truth about fame and fortune, track 5 Rockstar.

We wrap the whole thing up with I Won’t Let You Down, a beautiful string soaked ballad that let’s us all know McCormack is still out there, singing the blues the way only a Brisbane boy can.

Watch out for the David McCormack Retrospective featuring songs from 1990 to 2008 including songs from the Cassingle in October.

Friday July 18th - The Brass Monkey, Cronulla

Tickets from the venue 02 9544 3844


Sunday July 20th - The Heritage Hotel, Wollongong

Tickets from the venue 02 4284 5884



Friday July 25th The Troubadour, Brisbane

Tickets from Oztix or 1300 762 545



Saturday July 26th - Joe's Waterhole, Eumundi
Tickets from the venue 07 5442 814 and Backbeat 07 5479 5115
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Tamam Shud

July 16th 2008 05:37
Tamam Shud



Goolutionites and the Real People

The words tamam shud are taken from the Rubaiyat of Omar Khayyam and they mean: the very end. The band Tamam Shud were gigging around the East coast of Australia in the 1960’s and their music was heavily supported by film maker Paul Witzig who used much of their work in his ground breaking surf movie Evolution and others.



Newly released on CD for the first time Goolutionites and the Real People includes eight bonus tracks including tracks from the surf movie Morning of the Earth and a selection of live recordings from a gig at the Regent Theatre, South Yarra 1971.

The album is fresh and funky in so many ways. The line up over their relatively short life was: Lindsay Bjerre [gtr,vcls] 1967-72, Peter Barron [bs] 1967-72, Dannie Davidson [dr] 1967-70, Larry Duryea (aka Larry Taylor) [congas], Tim Gaze [gtr, vcls] 1970-2, Bobby Gebert [kbds] 1971, Richard Lockwood [sax, flute, clarinet] 1972, Nigel Macara [dr] 1970-72, Kevin Sinnott [dr] 1970, Kevin Stevenson [reeds] 1970, Alex 'Zac' Zytnic [gtr] 1967-70.

The band has obviously been influenced by 60’s musicians Jimi Hendrix, Cream, The Doors and the whole San Francisco movement that discovered and popularized LSD, and their cover notes to this brilliant album aren’t afraid of saying so. Just one 76 minute session listening to Goolutionites and the Real People is likely to make you feel like you’re there, off your face and ready to hit the Uni Bar. It’s down right excellent!

Young cynics may hear it as music to destroy the planet by, but that’s not really the case. Australian youngsters in the 60’s and 70’s were just starting to protest against a lot of the darker things becoming obvious, including war, old growth forests, over population, the slaughter of whales and the mining of uranium… there were plenty of issues to protest against and a great willingness to create Australian experiences that were just as real and valid to the individual as the American or UK experience – thus – music that is honestly Australian but sounds like so many bands from far away in space and time. The lyrics are just as cutting now as they may have been back in the day – possibly more so because in so many ways this is a time capsule for Australian kids particularly to get a grip on what has come before them.



With so much diversity on the Australian music front these days, and the enormous influence of our multicultural society has had on the breaking out of new sounds it’s great to go back and hear something like this.

I highly recommend it to anyone who likes funky acid-rock with an authentic retro feel to it. One of the slickest and entertaining albums to come out for some time, Goolutionites and the Real People is a cracker!
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