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

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

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

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

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

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

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

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


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"Hi all, Colin Hay here,

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

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

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

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

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

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

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

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

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

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

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

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

In Peace and Love,

Colin"

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

          Colin Hay – vocals, guitar

          Ron Strykert – guitar, vocals.

          Jerry Speiser – drums, vocals.

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

          John Rees – bass, vocals.

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

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

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

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

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

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

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

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

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

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

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

Sponsor                 Industry Roles

Showtech                Rigging                            

CMI                         P.A and Production                      

Clearlight                Lighting                                     

DSE Trucks               Transport                                  

Scully Outdoors       Outdoor Production           

Gigpower                 Crewing and Staging                             

Lock and Load         Crewing                           

Chameleon Touring  Production and Lighting                         

JPJ                          P.A and Lighting                                             

Novatech                 P.A and Lighting     

Phaseshift               Lighting                                     

Show FX Australia    Pyrotechnics                     

Event Personnel       Crewing                           

Norwest                  P.A and Lighting Production

Nprint                     Artwork

Ian Peel and Adrian Anderson

ARCA Co-founders and Directors.

Note from founders:-

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

All Hail Roadies and Crew

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


All enquiries contact :

          Adrian Anderson     0409 789 440

          Ian Peel            0415 667 221
Continue reading

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

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

 

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

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

The FOH engineer was Gary "Rocket" Fox.

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

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

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

The Desk Tape Series will be available through:

 https://ffm.to/australiancrawllive1981 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

            Sponsor                     Industry Roles

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

Ian Peel and Adrian Anderson

ARCA Co-founders and Directors.

Note from founders:-

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

All Hail Crew


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


Continue reading

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

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

JO JO ZEP and the FALCONS

LIVE AT SAN REMO, NYE 1976

TAPE TO BE DROPPED JUNE 1st

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

LIVE Jo Jo Zep 2.jpg

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

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

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

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

The Desk Tape Series will be available through:


iTunes

Apple Music

Amazon

Spotify

YouTube Music

Google Play

Pandora

Deezer

TIDAL

Facebook

Instagram

TikTok


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

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

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

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

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

jojozep1.jpg

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



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

Sponsor                 Industry Roles

Showtech                Rigging                            

CMI                        P.A and Production                    

Clearlight                Lighting                                      

DSE Trucks  Transport                                   

Scully Outdoors       Outdoor Production          

Gigpower                Crewing and Staging                            

Lock and Load        Crewing                           

Chameleon Touring Lighting                            

JPJ                         P.A and Lighting                                             

Novatech                P.A and Lighting     

Phaseshift               Lighting                                      

Show FX Australia   Pyrotechnics                    

Event Personnel      Crewing                           

Norwest                  P.A and Lighting Production

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

Note from founders:-

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

All Hail Crew

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

Captain Matchbox Whoopee Band 2011 Live Tape to Drop May 1st

Captain Matchbox Whoopee Band 2011 Live Tape to Drop May 1st
CAPTAIN MATCHBOX WHOOPEE BAND
LIVE AT ORMOND HALL 2011 TAPE TO BE DROPPED MAY 1st

Captain Matchbox Whoopee Band’s Live At Ormond Hall 2011 is the third of the Australian Road Crew Association’s (ARCA) Desk Tape Series.

The Desk Tape Series was created by ARCA to raise funds to help increase resources for Support Act’s "Roadies Fund" to provide financial, health, counselling and well being services for crew.
The "Roadies Fund" was established as a joint venture between ARCA and Support Act.

Live At Ormond Hall 2011 follows releases from Redgum and TISM, with half a dozen more in the pipeline in the next six months. Thanx to Cathy Kirkpatrick for the photo and Phil Dracoulis for the mastering.

The Desk Tape Series will be available via streaming through:-

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

The Captain Matchbox Whoopee Band emerged in the early 1970s playing a mix of jugband, swing, blues, cabaret and jazz.

They incorporated underground theatre, circus, visual arts, counter culture politics, irreverent humour and vaudeville routines as tap dancing, juggling and fire-eating, and became one of the biggest bands of that time.

The Ormond Hall in Melbourne was their spiritual home.
So it’s not surprising that when they reunited as an eight piece in 2011 for the Reignited Tour, they would return there for a three night run.

“The audience was always crazy when we played there,” says Matchbox’s long time sound engineer Ian Bowles, who recorded the tapes with Ormond Hall’s house engineer Tim Marmach.

“This time was no different, this was the last of the thee nights.

“The one thing about Matchbox was that their audience was very diverse, and those who came out for Reignited were no different.

“It was a good room to play in, great acoustics.”

Mic Conway, who co-founded Matchbox agrees.

"The Ormond Hall show was part of a tour that started late December 2010 at Woodford Music Festival called Matchbox Reignited and went through 2011.

“Ormond Hall was a favourite stamping ground for us in the mid seventies with concerts for the Melbourne Artists Workshop and the legendary Reefer Cabarets.

“Ian “Bowlesy” Bowles was our sound engineer at the time and the best one we ever had. He was a wild boy, but no matter what he got up to, he did a great job with a sense of fun. We were thrilled to have him do sound for us for the revival.”

The eight who played on Reignited Tour were:

Mic Conway : Vocals, jug, washboard, tenor guitar.
Jim Conway : Harmonica, vocals
Don Hopkins : Keyboard, harmonies
Phil Donnison : National guitars, slide, ukulele, harmonies
Jess Green : Guitar, banjo, harmonies
Cazzbo Johns : Jug, electric bass, harmonies
Jeremy Cook : Drums, washboard, percussion, harmonies
George Washingmachine : Violin, mandolin, harmonies

Live At Ormond Hall 2011 includes all their stage favourites, including "My Canary Has Circles Under His Eyes", "That Cat is High", "Smoke Dreams of You", "Hernando's Hideaway", "The Masochism Tango" and their famed set-closer "Wangaratta Wahine".

Mic and Jim Conway grew up in Melbourne mesmerised by the 78 rpm records of their grandparents, who were in vaudeville, and their parents who had a similar love for the style, and passed on their love of Fats Waller, the American jazz pianist, singer and comedian.
When at Camberwell High School, they formed the Jelly Bean Jug Band, whose antics included throwing jellybeans into the crowd.

All art or film students, they initially didn’t take themselves seriously, but their musicianship and whacky showmanship worked in their favour.

The name change to Captain Matchbox Whoopee Band came when they made it to the finals of Nine Network’s New Faces.

As Conway ruefully admits, they started out as a piss-take on the rock scene and despite their best intentions became part of it!

Their first single, a cover of the 1931 druggy song "My Canary Has Circles Under His Eyes", went Top 40 in Melbourne in November 1972.

Debut album Smoke Dreams, from that year, stuck only to 1930s and 1940s jazz, blues and jugband standards. It was released in the US in the short-lived quadrophonic format, and very much in demand as a result.

The second album Wangaratta Wahine (1974) included covers of Fats Waller "Your Feet’s Too Big" and tango show tune "Hernando's Hideaway" from the musical The Pajama Game.

But Mic and new Matchbox multi-instrumentalist Dave Flett were also penning songs, like "Wait For Me Juanita" and "Wangaratta Wahine".

Legend goes that Jim Conway hated "Wangaratta Wahine" so much that he threatened to quit.

It wasn’t even intended to be a single, but radio started playing it, and they were invited to perform it on Countdown, and it reached #4 nationally.

Cartoonist Michael Leunig’s cover artwork saw it win 1974’s Album Cover of the Year.

Through the years, no less than 34 musicians passed through the ranks – all fine ones, including Stephen Cooney, Eric McCusker, Jimmy Niven, Louis McManus, Dave Hubbard, Peter Inglis, Mick Fleming, Chris Worral and Manny Paterakis.
Some went on to play in major bands, made movies, became major names overseas, and one joined the Hare Krishnas.

When the band began, Mic’s ambition was just to make an album.

In the end, they ended up releasing half a dozen, “two gold records and a ton of bad gigs.”

Early on they appeared in the Tim Burstall film “Stork” and later John Duigan’s1979 film “Dimboola” at about the same time as their last album “Slightly Troppo”.

The end came after the band suffered two disasters.

A nine week tour across the US, six with US bluesman John Lee Hooker, was cancelled when Hooker had a stroke.
.
In 1980 they split up after a tragic truck smash which killed a crew member, seriously injured two, and destroyed much of their equipment.

Members remained in the spotlight with The Backsliders, The National Junk Band, The Conway Brothers Hiccups Orchestra and The Nighthawks.

Then in December 2010, Queensland’s Woodford Folk Festival asked them to reunite, and they played at the festival which drew 126,000 patrons over six days.

It made sense to extend that to a national tour which saw them return to Ormond Hall.

ARCA thanx its Sponsors for supporting the ARCA Desk Tape Series:-
Sponsor Industry Roles
Showtech Rigging
CMI P.A and Production
Clearlight Lighting
DSE Trucks Transport
Scully Outdoors Outdoor Production
Gigpower Crewing and Staging
Lock and Load Crewing
Chameleon Touring Lighting
JPJ P.A and Lighting
Novatech P.A and Lighting
Phaseshift Lighting
Show FX Australia Pyrotechnics
Event Personnel Crewing
Australia
Norwest Productions P.A and Lighting Production
N-print Artwork


For more information, go to ARCA’s website at tps://australianroadcrew.com.au
Continue reading

TISM 1988 Live Tape To Drop April 10

TISM 1988 Live Tape To Drop April 10

Date: April 10, 2020

Desk Tape Series Helping Roadies

TISM 1988 Live Tape To Drop April 10

The Australian Road Crew Association (ARCA) continues with its Desk Tape Series – live shows by major Australian acts taped for perpetuity by their sound engineers – to raise funding for road crew that may need help before, during and after the COVID-19 crisis.

All costs directly relating to The Desk Tape Series releases will be deducted from gross, after which the balance will be split 20% to ARCA and 80% to the Support Act "Roadies" fund. This fund was formed by Support Act and ARCA.

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

“But with the country’s live performance industry estimated to have lost $350 million worth of work by the first week of April, we have to remember that crews are the most at-risk sector and need special extra funding. No crew, no show."

“It is a great honour for us to be able to present these memories to all."

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

The next Desk Tape Series is TISM, Live At The Corner Hotel 1988, out for release on April 10.

Here is a link to TISM Live at the Corner Hotel:-
https://ffm.to/tismliveatthecornerhotel

It was recorded by Mark Woods, who also worked with The Models, Men At Work and Midnight Oil.

TISM (This Is Serious Mum) formed in Melbourne, Australia, in 1982. Their collision of electro pop, vicious satire and performance art, made them one of the country’s most popular live acts and even saw them achieve mainstream chart success.

Hiding behind masks, pseudonyms and elaborate stage costumes, TISM turned every performance and interview into an art event. In one such interview, journalists were stood at the opposite end of a football ground to the band, and forced to communicate via megaphone. On their first appearance on national TV in Australia, TISM appeared with 28 fully costumed members, performing their latest single, ‘Saturday Night Palsy’.

This track is featured on the 1988 Corner show, along with other singles ‘Defecate On My Face’ and ‘I’m Interested In Apathy’ from their ARIA-winning debut album ‘Great Truckin’ Songs Of The Renaissance’.

TISM would go on to win another ARIA for their 1995 Top 10 album ‘Machiavelli And The Four Seasons’.

TISM shows featured all manner of distractions, including debating competitions, an onstage wedding, a stock market simulation, a full costume performance of Shakespeare, a ‘Save Our TISM’ telethon, and even a show where two TISMs performed simultaneously at either ends of the venue.

The 1988 gig at the Corner was a more stripped-down affair, however it still saw the band revving two lawn mowers onstage during the set, highly dangerous behaviour in those pre-safety-conscious days of overcrowded venues.

More desk tapes will be released over the next few months.

Peel and Anderson point out, “Roadies have amassed a treasure trove of live recordings spanning more than 40 years and made ARCA their exclusive custodian.

“These tapes document the cultural significance of the Australian live music scene and serve as important historical records, requiring a release to ensure they may never be lost.

“Acts including Australian Crawl, Captain Matchbox Whoopee Band, The Church, Cold Chisel, Crowded House, Jo Jo Zep and the Falcons, Wendy Matthews, Men At Work, Mental As Anything, Midnight Oil, Paul Kelly have all expressed a willingness to participate, foregoing their performance royalties to assist the crews who have helped them on their journey. Redgum "Live in Amsterdam 1985" was released December 2018”

Sponsors for ARCA Desk Tape Series:-

Sponsor                 Industry Roles

Showtech                Rigging                            

CMI                        P.A and Production                    

Clearlight                Lighting                                      

DSE Trucks  Transport                                   

Scully Outdoors       Outdoor Production          

Gigpower                Crewing and Staging                            

Lock and Load        Crewing                           

Chameleon Touring Lighting                            

JPJ                         P.A and Lighting                                             

Novatech                P.A and Lighting     

Phaseshift               Lighting                                      

Show FX Australia   Pyrotechnics                    

Event Personnel      Crewing                           

Norwest                  P.A and Lighting Production     

N-print                     Artwork

The Desk tape Series will be available through:

iTunes

Apple Music

Amazon

Spotify

YouTube Music

Google Play

Pandora

Deezer

TIDAL

Facebook

Instagram

TikTok

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