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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)

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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

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

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Apple Music / iTunes
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MGM
Pandora
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Spotify
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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

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)

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Dutch had a Tuesday night residency at the club.

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

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

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

“It was like being under a microscope.

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

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

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

Dutch Jim Pete 1973 1  18A Kerryn Tolhurst

Dutch, Jim and Pete                   Kerryn Tolhurst

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Note from founders:-

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



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

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



  




 
Continue reading

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

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

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

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

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

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

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

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

NF06b1


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Note from founders:-

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

All Hail Roadies and Crew

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


All enquiries contact :


          Adrian Anderson     0409 789 440

          Ian Peel            0415 667 221         
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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