dave graney - Moodists-Coral Snakes-mistLY-FEARFUL WIGGINGS

dave graney - Moodists-Coral Snakes-mistLY-FEARFUL WIGGINGS
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About Me

My photo
ZIPPA DEEDOO WHAT IS/WAS THAT/THIS? Album coming March 2019. WORKSHY - 2017 memoir out on Affirm Press. Let's get Tight - 2017 CD with Clare Moore. Moodists - Coral Snakes - mistLY. I don’t know what I am and don’t want to know any more than I already know. I aspire, in my music , to 40s B Movie (voice and presence) and wish I could play guitar like Charlie Christian or Grant Green -but not in this lifetime, I know.

Saturday, October 5, 2019

ONE MILLION YEARS DC out this week

Art by Tony Mahony

One Million Years DC comes out October 10th.
This is a digital only release.




Its an album credited to myself and Clare Moore. Guests include Shane Reilly from the Lost Ragas on pedal steel, Will Hindmarsh, Emily Jarrett, Harry Howard and Edwina Preston and Stu Thomas on backing vocals and Coral Snake Robin Casinader on mellotron.

pic Barry Douglas


It follows our album with the mistLY, ZIPPA DEEDOO WHAT IS/WAS THAT/THIS which came out in April/May. Some of the songs were recorded around that same time but seemed to suit a different thematic collection. ZIPPA DEEDOO was more of a "band" album. This - like 2017's LETS GET TIGHT -  is more of a song based album. 

It has a loose sci fi / post apocalyptic theme. It came through the songs themselves. They come from some general interior flow I've been riding for all my life.
In more recent times I've been obsessing over the Rolling Stones. They've been a constant presence in my musical world. Sometimes they've been pretty much off the boil and out of the way and I found it strange that people would still refer to them above all others. I remember when in a full post punk narrative and "Miss You" came out as a single and I bought it to see what they would do in response to the challenge being tossed up to them. Annoyingly, it was pretty great and the album Some Girls had a very strong set of songs and the usual amazingly current sound. Everything was still shot through an orgiastic haze though. It was all rampant, horny toad, sexual language. The great thing about punk and post punk was that it turned off those mad burners for a brief period and an asexual air was about. It gave people room to move differently in for a while. 
That was it for the Stones creativity though. Subsequent songs like SHE WAS HOT and others like SHES SO COLD just couldn't cut it in a world with Kid Creoles' OFF THE COAST OF ME, Televisions VENUS DE MILO , Richard Hells LOVE COMES IN SPURTS , the Pop Groups SHE IS BEYOND GOOD AND EVIL or Pere Ubu's DUB HOUSING. The Stones were over there with Benny Hill and Carry On Movies.

Time bends all things though. 

ZIPPA DEEDOO had my homage to all things ULTRAKEEF on it. 

I kept dipping in and out of their catalogue, my own personal life history being bound up with the songs and albums.
Clare and I started playing a song from the 1974 Mick Taylor era of the Stones called TIME WAITS FOR NO ONE. Mick Jagger has a great lyic in it where he summoned up an image from Shelleys OZYMANDIAS which went...

"Time can tear down a building or destroy a woman's face
Hours are like diamonds, don't let them waste
Time waits for no one, no favours has he
Time waits for no one, and he won't wait for me
Men, they build towers to their passing yes, to their fame everlasting
Here he comes chopping and reaping, hear him laugh at their cheating
And time waits for no man, and it won't wait for me
Yes, time waits for no one, and it won't wait for me
Drink in your summer, gather your corn
The dreams of the night time will vanish by dawn"

 
Anyway, this imagery is most evident on ONE MILLION YEARS DC in songs like Pop Ruins and Comrade Of Pop. In the former I  was thinking of the ending of PLANET OF THE APES where the human hero  comes across (again Ozymandias) a head of a giant statue buried in the sand. 


In my song I sense a beautiful song lying in the sand. Like many of my lyrics its going off in all sorts of directions. I like the flash and the sensation above all. Lots of little clues and personal jokes but the general way of the song is the feeling that I have lived and worked in a kind of wasteland. In Pop Ruins. Abandoned cities and people acting out rituals for which they don't know any meaning of or expect any meaning from. 
(In my life, music festivals would be definitely one of these rootless forms. I was so surprised when they made a return in the 90s. They are still mostly appalling ways to experience music).
The song references The Grateful Dead (liberally), The Rolling Stones, the movie PERFORMANCE, Bob Marley and the Saints.

Oh look at that beautiful song
lyin’ there in the sand
hey, where did that sand come from?
must’ve come in with the song
Pop Ruins
I love this song!
Hey, you know, we built this song
this song in the sand
Pop Ruins
Edith Grove
Powys Square
56 Hope Road
Petrie Terrace
This Brokedown Palace
on Shakedown Street
this Family Dog
we listened from a window in the Mars Hotel
there’s a Marquee Moon as well
busted
absolutely wrecked
Pop Ruins
The Roxy
The Odeon
Apollo
Palais
Olympia
The Whiskey
Detroit Grande
yeah I felt bad for places and times that were never mine
Brooklyn 79
back in the day, back in the day
the Zen Arcade
arcady
arcadium
with the Jimmy Castor Bunch
Pop Ruins
yeah
I love this song

Comrade Of Pop is more about the kinds of bonds of fellowship and camaraderie I have found in the underworld of music, poetry and street life. Beyond the confines of success and industry and career there is the underworld stream of thought, imagery and desire to communicate. The chorus comes from the 1932 Todd Browning movie, FREAKS where the freaks chant "we accept you! One of Us!" much to normal human females horror. (I know this was also used by the Ramones in their song Pinhead - just another circumstance of streams of fellow thought and inspiration going on)



Elsewhere in the lyric it references a certain episode of Get Smart where the pop group (managed by Larry Storch) tries to subvert the students into rebellion. Iggy, Jim and Karl Marx feature too.

Comrade of pop
FKOP
Former King Of Pop
ironic? unnhh
Iggy Pop
Cincinatti pop
peanut butter
Radio Birdman up above
yeah, hup
Gabba Gabba Hey
we accept you
one of us
Comrade Of Pop

no time for talk of kings and queens
got to make the scene
got to kill the Dean
Gabba Gabba Hey
we accept you
one of us
Comrade Of Pop

Miami Jim
Sagittarius – bullshit
got to get your kicks before the whole shithouse goes up in flames
Gabba Gabba Hey
we accept you
one of us
Comrade Of Pop

a spectre walks the earth
comrade of pop
Gabba Gabba Hey
we accept you
one of us
Comrade Of Pop


Oh, there is also a song called WHERE DID ALL THE FREAKS GO?

We put a lot into this album.  Its a standalone thing but sits very neatly with ZIPPA DEEDOO.
Its out Thursday October 10th. You can preorder a copy from Apple Music here.  Or preorder from BandCamp here.

pic Barry Douglas

2019 shows
October 10th, 17th and 24th Dave Graney and Clare Moore will be playing with the mistLY at THE JAZZ LAB - 27 Leslie St, Brunswick
Melbourne.

Sunday October 13th at 2pm Dave Graney and Clare Moore will be playing at Scrub Hill 1869
1713 Daylesford, Ballarat Rd
, Newlyn VIC 3364 phone 0409 645 237

October 25th and 26th Dave Graney and Clare Moore will be appearing at the JUNK BAR in ASHGROVE, BRISBANE. (Afternoon and evening shows on the Saturday)


November 16th Dave Graney and Clare Moore at SOUNDS DELICIOUS in HUSKISSON, NSW

November 17th - Dave Graney solo at Gasoline Pony, Marrickville, NSW


Friday Nov 22nd - The Dust Temple, Currumbin

Saturday Nov 23rd - Pelican Playhouse, Grafton NSW



Monday, September 16, 2019

ONE MILLION YEARS DC new album out OCTOBER - HE WAS A SORE WINNER this week




A tip if you tend a blog. Write things down when they are still a hot experience, when your clothes are still smoking. Get it down.

I flew to Hobart to do some shows at short notice. Another player had forgotten he had a gig double booked at a  music festival in Europe so I was asked if I could volunteer. "Yeah, why not?"
I said.

The first show was at a room I'd played at before but had recently changed hands.

A week before the gig the new owner was played my song ULTRAKEEF by the cook and she tore the promoter a new one via the phone, telling him I was not to play anything of the sort in her venue and she wanted "nice music for nice people". Wow! Still got something or other! I thought and chuckled.
"Sure", I said. "Why not? I can be nice!"

Show time came and the promoter picked me up. I basically thought I was doing everybody a  favour stepping in to fill the breech. Actually being nice!
He filled me in on the scene. It was a good room and there weren't many of those in the town and it'd be great if I could be nice. "I can be nice!" I said, and chuckled as I looked out of the car window.

We parked outside the venue. Misty rain was coming down. There was a young woman standing in the adjacent business's doorway. She had her hood on. She smiled, I said hello. I got out my guitar and bag and she came up behind me and asked if she could help. I said "nah, I'm right thanks" and kept walking.
She followed and said "you wanted to meet me."
I said "I'm sorry?"
She said, "you wanted to catch up!"
I said, "hey I'm sorry but what's this all about?"
She took a  step back and said "you wanted to talk to me about cyber bullying..."
I said "cyber bullying? Sorry I dunno what you're talking about."
It was still raining and we were still standing in the street.
She kept taking steps backwards and started saying "I'm sorry! I'm sorry!" and then turned and disappeared - somehow - walking quickly into the empty street.

It was the reopening of the venue after having been dormant for a while.

I stowed my case and took my guitar down to soundcheck. the shaven headed, bearded barman said hello and the female venue owner came in to talk to the promoter. She nodded at me. They chatted and she mentioned she'd been meaning to put the name of the entertainer up on a board outside but hadn't gotten around to it yet. The show was a matter of hours away.

It was raining outside and there were buckets on the floor in front of the stage, collecting the occasional drop.
I soundchecked and then thought I'd eat. A young woman was writing the menu up on a blackboard. She was on a ladder. The barman "joked" that she'd asked to work as she loved my music. He thought that was amusing. That a person would know of my stuff, let alone like it.

She looked embarassed.

The opening act was standing around having  a beer. A solo performer. I tried to talk to him, a fellow traveller and all, a comrade. He had a strange smile and said "what?" to every question I asked. It was tiring. A nervous thing, I know. He looked and smiled a lot like the British comic actor Nick Frost. Perhaps it was actually him? Researching a new role.
I had a plate of vegetables and went for a walk. I came back and the rain was bucketing down. Literally, splashing into a bucket in front of the stage and also out of that and all over my guitar pedals. The other singer was sitting and watching it. He seemed to be incapable of any action that could influence the world as it rolled out over him. I moved my pedals back and the young woman wiped the floor.

A few people came in and the opening act started. A very straight folk singer. He had skills, chops. He had obsessed over his chosen frequency. I could have been in the same room in 1964. He had no rock'n'roll in him. His showmanship was nil. Normally I would have loved this level of rough non-engagement with showbiz. He would talk with a wry, secret smile in between songs, sentences trailing off, talking to himself more than anything else. Old folk songs, grim tales of Irish rebels and transportation, poverty, mining and death and ghosts. I was sitting there all dressed in black leather as I had been  expecting Antarctic weather and I'd been proven right to have done so. Then a man started dancing. He wore an old beanie and an old flannelette shirt undeneath which I could see the frayed, pilled sleeves of two older jumpers. His pants were torn short above his ankles like a pressed ganged sailor and he had long johns on underneath. He had no shoes on. He danced a jig for a couple of songs. A couple of feet away from me.

I sat on a chair and did my two sets. It was quite enjoyable in the end. I didn't swear and it was kind of illustrative how many of my recent songs had that kind of rough language in them. GLORIA GRAHAME as well as ULTRAKEEF.

 I chatted with a few people and then after an hour or two, went upstairs to bed.

The next morning I was fixing a coffee and the woman owner of the venue walked past. We were the only two people there. She nodded and kept to her work, cleaning a couple of other rooms.

I took my bag and guitar and, leaving the key in the door, walked down to the water and caught a ferry to MONA where I did a long set of music sitting in the Nolan room.
I sang many songs with swear words as well as long, slow tunes that you couldn't really let fly in a  pub room. Here in an art gallery with high ceilings they could work.

I had a  ticket out of town for 9:45 and it was 3pm. I sat and had a coffeee while I waited for a bus to the airport. When it came it turned out I was the only passenger and I had a nice chat about Tasmanian football with the driver.

I thought I could talk my way into an early flight but they love to say "No" at Virgin so I sat to read my book. I was at page 908 of John Cowper Powys's OWEN GLENDOWER.

After a while I noticed the plane didn't have any boarding time. Then it got delayed for half an hour. This kept happening every half hour or so until well after the flight time of 9:45. At 10:30 they gave us meal tickets.
It kept getting put back until, finally, at 1:30 am they admitted it was cancelled and we had to collect our bags and wait for details of our accomodation or the night.

It felt a bit like a disaster movie. I'd started to chat with a  young couple who'd actually been at the show on the Saturday night. Very nice, intelligent and amusing company. The girl, Monica, kept buying magazines. She had one called WOMANKIND. I told her it was an Amish stroke mag.



We stood in line  to get our hotel and cab charges. Another couple who I'd noticed earlier were standing near us. He had shouted to her across the airport waiting area about a seat that would be good for her back. He cared too much. She was smothered and was used to it. They were like characters in a play, or a Neil Simon movie.
That couple started to wonder about the person who was looking after their cat and whether it was right to call them at 2am. We were all standing, delirious tired in a queue at the airport at 2am. Me and the young couple were right there as they talked across us. It was like we were in a  circle. Then the man said that it wasn't such a bad thing to spend another night in a  hotel and smiled and they put their phones aside for a moment and cuddled and embraced. We were all getting too close. People were overcooked,too loose or too tight, turning back into their weird, domesticated selves.
Another couple were trying to get to an ill paarents' bedside and also - one of them- to Spain the next day where he was to manage and monetize a young rock climber.
A rotund young Asian man in hip-hop gear and thongs walked around, speaking French into his phone.

I got to bed at 3am and woke at 7:30 and ate a nice beakfast of black coffee and Bircher Muesli before catching a cab to the airport.

There was a fresh group of grotesque travellers. Fat families, tattos, beards and martial arts t shirts. A young lesbian couple locked into a long, tongue kissing embrace for twenty minutes right in the middle of the scrum. Also amongst them were the survivors from the previous night, more than ready to hear of their plane and plans for the future to be cancelled again. 

The plane left on time.


 art- Tony Mahony

New album from Dave Graney and Clare Moore coming in October. ONE MILLION YEARS DC
First single. HE WAS A SORE WINNER.

2019 shows
September 27th - Dave Graney solo at PALOMINO NIGHTS. A show in SA at the heritage GLENCOE WOOLSHED. (Near Mt Gambier).
October 10th, 17th and 24th Dave Graney and Clare Moore will be playing with the mistLY at THE JAZZ LAB - 27 Leslie St, Brunswick Melbourne.
Sunday October 13th at 2pm Dave Graney and Clare Moore will be playing at Scrub Hill 1869
1713 Daylesford, Ballarat Rd, Newlyn VIC 3364 phone 0409 645 237
October 25th and 26th Dave Graney and Clare Moore will be appearing at the JUNK BAR in ASHGROVE, BRISBANE.
November 15th Dave Graney at the Music Lounge, Merrigong theatre Company, WOLLONGONG.
November 16th Dave Graney and Clare Moore at SOUNDS DELICIOUS in HUSKISSON, NSW
November 17th Dave Graney solo at GASOLINE PONY in Marrickville, NSW 
Thursday November 21st - Dave Graney and Clare Moore at DUSTY ATTIC MUSIC LOUNGE in Lismore, NSW
Thursday November 28th Dave Graney and the mistLY at Birds Basement jazz club in Melbourne.


Thursday, August 29, 2019

Recent posts from the music life




A solo show I'm doing in an historical woolshed at Glencoe- near Mt Gambier. September 27th. Tickets here

August 12th

 Saw Robin Casinader play another masterful set of brilliant sounds in a Northcote bar (Open Studio).With his keyboard and MELLOTRON. A songbook with fresh tunes and others going back decades. Accompanied by Natasha on viola who had met him ten hours earlier. A clip from last year.



Robin played a song going way back to Plays With Marionettes, his band that was contemporary with the Moodists in early 80s Melbourne. It was a great tune! He played Salty Girls which he wrote and sang on the album "The Soft n Sexy Sound" with us in 1995. Sounded amazing!

Robin lives in Canberra and will hopefully play more regularly in Melbourne. Nobody else like him. Not with the skills and the sensibility. He was so relaxed in performance too. Loose but totally concentrated when playing. Not a lot of chat but when he did it was perfect for the moment. Julitha Ryan did a fine opening set. She did so even though Robin soundchecked until well past the time she was supposed to begin.
I know that would have been upsetting but as an audience member I enjoyed Robin taking so long to set up and the tension building. He should do it every time as an opening act...

(At a show in the same venue last year Robins' accompanist and co singer (Francesca) injured her arm the night before so he hired another mellotron and they did the gig as a Mellotron duo, facing each other, with Francesca doing her cello parts on the keyboard. Must be a jinxed room.)

 August 16th

Great night of music at the Northcote Social Club last night. On Diamond were so confident and spellbinding. Sometimes it was like the first version of PIL with Anne Briggs singing but they are really their own thing. The bass player nailing it all to the floor and the drummer swinging so loose and relaxed and Lisa Salvo and the guitarist swooping to and fro up in the heavens. In a music scene that is choked 95% tribute nights and the like this sort of act is so valuable.



Machine Translations were playing in support of a re-release of a 2002 album called HAPPY. Full of great pop moments and wilful artistry. Greg Walker is a favourite songwriter of mine. His voice and demeanour are very winning and his guitar playing and chordal divinings are mesmerising. He played an SG through and Ampeg amp as well as acoustic. With a great rhythm section and prog biker cat on guitar/keys/melodica and xylophone and two backing singers. They probably had never played the whole album before as it seemed to involve a lot of studio creativity/cutting and pasting. They played one of my favourite songs called The Monkeys Back which Greg introduced as having written about Australians keeping voting in John Howard and he said it was horrible that it was still relevant. Listening to it roll out was that feeling I used to get as a kid listening to the hopelessness in Neil Youngs On The Beach. Unbearable helpless feeling. 

"Monkey came 'a knocking
At your door
You know you should be careful
What you wish for
Now the monkey's back
We all get what we deserve
Roll out the plastic cheese
Flatten the earth
Now the monkey's back
He knows just how to please
That's how I'm living in this
Pile of leaves
Monkey at the wheel's got
Huge control
Bonny says it feels so
Safe and cold
Will she be lying when she says I do
Get on the monkey's back
We all get what we deserve
Roll out the plastic cheese
Flatten the earth
La la the monkey's back
He knows just how to please
That's how I'm living in this
Pile of leaves
Martyr of the roses
Black and blue
You know you should be careful
The things you do
'cause now the monkeys back
We'll all get what we deserve
Roll out the plastic cheese
Flatten the earth
La la the monkeys back
Now forget what you learned
That's how I'm living in this
Pile of earth
"
It was a rush of ambivalent feelings listening and watching them play it. Very powerful. Anger and frustration.
They ended with another favourite, the beautiful chords, words and loops of "Be My Pillow".
I know its also retro having a band get into some old performing shape to play an old album again but some music is so rich and actually worth someone taking the time and trouble. Beyond nostalgia, it was all still ringing with me this morning.

The early 2000s were a pretty horrible period for music, continuing the dreadful slowdown that happened in the late 90's. Machine Translations were a highlight of the time and Greg has continued to put out fantastic music ever since. 




The only negative of the night was that it should have all started two hours earlier. Late gigs are silly.

Another great musical experience recently was getting to interview Peter Asher and Albert Lee on the radio show I do on Triple R . We also went to their Melbourne show and had a wonderful time. They mostly told stories of their lives in music but when this touches on experiences with -or parralel to - the Beatles, the Everly Brothers, Waylon Jennings, Elvis Presley, Emmy Lou Harris, James Taylor, Carole King, Linda Ronstadt and many others.... well, the names just keep on getting dropped.... so you roll with it...

Listen back here, the interview starts at about one hour into it....

The week before that, David McClymont - who played with us in the latterday Moodists (my favourite period of that band) - came in to talk about his new album which is available at Bandcamp.

You can listen back to that show here. Again, the interview starts at about one hour in

He continues to record new stuff and this song Centuries came out after the album.




Then he came over to our studio last week and we recorded a song with him. Well he then trashed it and re-arranged and re-wrote it so we will do it again. Will sound cool though!

Our new album ONE MILLION YEARS DC is mastered and in the pipeline for an October release.
It is also sounding GREAT to me. A strong collection of songs. Its all set in the end of the world - yes, the present day....


We are lining up some shows for September onwards

September 7th Dave Graney will be doing a solo show at the Homestead in Hobart.
September 8th Dave Graney will be appearing solo at MONA in Hobart.
September 27th - Dave Graney solo at PALOMINO NIGHTS. A show in SA at the heritage GLENCOE WOOLSHED. (Near Mt Gambier).Tickets here.
October 10th, 17th and 24th Dave Graney and Clare Moore will be playing with the mistLY at THE JAZZ LAB - 27 Leslie St, Brunswick
Melbourne.
Octber 25th and 26th Dave Graney and Clare Moore will be appearing at the JUNK BAR in ASHGROVE, BRISBANE.

Saturday, August 17, 2019

Recently I




Recently I made an attempt to stay away from Social Media. Just wanted to try it after having a  funny feeling about being so exposed to whatever elements might be brewing about.

I have a song on this new album we are finishing called Finally I Come Clean where I was worrying about that kind of stuff. A lifetime of writing and singing words in public. I'm not the confessional type of writer/singer but I've still been out there - in the wind. So I went off of it just to see how it went. If I went near my computer or phone it would be just to look up something or work on Protools or write something. I don't really enjoy arguments online at all. Once I thought that Facebook might be good for actually keeping in touch with friends and family but I don't think so. Not for me anyway. Time and again I get so much more out of talking on the phone or in person with people. Same with music stuff, the faux intimacy of the internet is something I've written about in songs before. Such as in Matey From On High...



 In Finally I Come Clean its the idea that even if you were careful what you were saying, you never know what people are going to hear.


I had a great surge of energy and felt so positive spending less time with my head in that electronic soup bowl that is social media. It was great.

I drifted back over a period and still don't get much from it. Just goofy distractions. Narcissistic - yes. Staring into a stagnant pool or a dirty mirror. Crude images and distorted reflections anyway.



Then yesterday I saw this person air raiding me... or more acurately, using me to start/settle  an argument with..... the world/internet..... (They were framing it -me - around a picture of a new supergroup trio of Mia Dyson, Liz Stringer and Jen Cloher).





(Got to say I just wanted to collect all this here as I don't want to be arguing with them. Its such an illustration of how much time and energy social media can waste. I just wanted to get it all out of my head though...Also I'm referring to "them" as they talk from behind a snappy internet superhero nickname/persona...)

I got upset and involved as it was needless kind of slander.



They responded in the manner that suggested I shouldn't get involved any more. Just a dogmatic brain typing words.


Being called "nice" was bad enough but "privilege" seemed to be the worst. I know they meant MALE PRIVILEGE but fuck it. 

I got upset because its a kind of argument that swirls around the sloppy argumentative internet media world. All about gender and equality and stuff. All very good. But the people they are dragging into it are MUSICIANS. We all ran away to the circus. WHERE FREAKS BELONG. All this rational thinking and ordering of the world is nice. Very neat and tidy. But leave US the hell out of it.

Privilege. I am not here to defend Tex but both he and I did not come from the world of Private Schools and academia, WHERE MOST MUSICIANS AND ARTISTS COME FROM. In my case my mother raised six kids and my father painted public buildings for the local council and worked nights in a bar. 

Also, in the mid 90s Tex was undeniably involved in two of the hottest combos possible. The Cruel Sea were undeniable, as were the Beasts Of Bourbon. As were Dave Graney and the Coral Snakes AND THE CLOUDS. We all worked our arses off too.



There is another song on our upcoming album called WHERE DID ALL THE FREAKS GO

When the going can't get weird and the weird cant get going
when the going is only weird and the weird can't get going
where did all the freaks go? Huh?
How straight are weddings?
"It must be in a  church!" Though nobody knows a church
"It must be right - anything else would be just weird!"
where did all the freaks go?

When the going can't get weird and the weird cant get going
when the going is only weird and the weird can't get going
where did all the freaks go? Huh?
where's our green light?
where's our Kings Cross?
where's our Soho?
what's our sound?
How can we tell whats happening?
where did all the freaks go?

The Dave Graney and Clare Moore album is still on schedule. We have some shows lined up for October-November and will be announcing soon. 

promo cd cover...

Monday, July 29, 2019

It Don't Stop!

Well I guess IT will have to stop at some stage but while we can shake IT and make some noise we might as well, 'ey?
Though we are instituting a new kind of year zero attitude from here on in. No more setting our  moves to some other time code. No more values imported from outside. We'll be setting off our own timeline. Soon.
I'm referring in some ways to this second album for 2019 which will be finished soon. It will be a digital only release. It's an album that has eleven songs sizzling away at the moment. Just a few more finishing touches. Pretty much all instruments played by myself and Clare Moore.


Though we are having some touches put on by a special guest on an exotic instrument and once again, Will Hindmarsh and Emily Jarrett have added some amazing vocals to one track.
The projected title is Dave Graney and Clare Moore - ONE MILLION YEARS DC.
There will be no arguments entered into!
October is the month.
We will probaby sneak a song out before the whole thing is let out of our precious bag.

Thanks to everybody who came to our ZIPPA DEEDOO shows. We ended up in Adelaide at the Gov, a wonderful venue that we hope to return to at some stage.
Like our Caravan Club show, we played a set mostly from the last decade of music and mostly from ZIPPA DEEDOO and LETS GET TIGHT.


yeah, these were on stage at the end of the night, nestled under my 12 string.

Then Clare Moore and  I had to concentrate on some material for a Scott Walker tribute that we'd agreed to be involved in. That was harder for me as I'm not really match fit as far as boning up on other peoples songs and arrangements go. I had said "yes" to it in a joyful spirit of can do and then I had to face the reality of how many lyrics there actually were in the songs I'd chosen. Clare was playing drums as well as vibes for about 22 songs. Steve Hadley on bass (who had asked us to be involved), Bruce Haymes on keys, Shane Reilly on pedal steel and guitars and Jack Howard on trumpet. The singers chose the material, whatever they knew or thought they knew, and away we went. Ended up having two rehearsals in the week of the gig. We played the Thornbury theatre and the Caravan Music Club. The singers were myself and Rob Snarski, David Bowers, Moogie Morgan and Alyce Platt.


I opened proceedings with Boy Child and Plastic Palace People and later on did Black Sheep Boy, After the Lights Go Out , Blanket Roll Blues and the Old Mans Back Again, Moogy did Mathilde, My Death, Ne Me Quitte Pas, Amsterdam (in french) and Jackie . Alyce Platt did a different arrangement of Amsterdam in English. Rob Snarski did The Amourous Humphrey Plugg, Lady Came From Baltimore, The Worlds Strongest Man and Duchess and David Bowers did My Ship Is Coming In, The Lights Of Cincinatti, Montague Terrace In Blue, No Regrets and the Sun Ain't Gonna Shine Anymore.
I played extra guitar on several and did backing vocals, percussion and emcee'd the show. The music was played in two sets.
I introduced songs and generally talked people through it, presuming they would be knowledgeable Scott Walker fans, i.e, a tough crowd.
Each song had a lot of finicky arrangement and textural touches. Lots of concentration involved. It was surprising to realize that each little package of sound was rarely more than two minutes long because inside them they were so intricate and detailed.
This was the second tribute/homage show I'd been involved in other than the Bowie In Berlin nights we did in 2018.

There has been talk or more shows down the track, who knows?

Then I went back into the studio. We are organizing some shows for later in the year in NSW and Qld.

A review of ZIPPA DEEDOO in the i94bar.

I'm at the first 100 of an 800 page John Cowper Powys novel. Set in 14th century Wales. Owen Glendower.
I've watched four episodes of THE LOUDEST VOICE, the dramatized story of Roger Ailes and Fox news. Never have I watched a show with such absolute turds as the lead characters. Russell Crowe is pretty good as AILES but its hard to cheer on a guy who has had such a profoundly shitty influence on the USA and so, the world.

Oh yes, we had an election too somewhere in there. Like most people, I'm still getting over that. And hoping the Labour Party doesn't chuck itself out of the bath in haste to become attractive to swinging zombie voters. In the UK a tiny bunch of people make Boris Johnson their leader, in the US its Trump, voted in by a percentage of a third of the country . In Australia we have someone leading a  real pack of inept, thoughtless bozos- but we have compulsory voting?!@#&^%#@!




I'm still interested in doing shows outside of pubs and clubs. 




I am up for some PARLOUR GIGS. It's a system or portal where you can book artists to come play in your PARLOUR - House - Apartment - Back yard etc. I have done a few of these with a mic and guitar plugged into my acoustic amp.
Click here for more details.

Tuesday, July 2, 2019

2 Melbourne then Adelaide then


This was our second ZIPPA night in Melbourne. We played North at the Northcote Social Club May 26th and then this show Southside at the Caravan Music Club.

In the week before the gig, Clare Moore and I did an interview with Raf Epstein on ABC Melbournes Conversation Hour. You can stream it here

Sean McMahon played an opening set with his band. Excellent people.



We played a long set, probably  75-80 minutes. Its a great room and there were seats, tables and stools all around the place. Great audio and lighting. If you didn't get there, you missed a classic night.



I started the show alone on the stage with the curtains opening and me playing part of a new instrumental piece on my archtop. As I got to the second chorus Stu, Stuart and Clare walked on and we moved into I Wanna Get Lost Again

We played straight through with songs from recent albums and earlier as well as ZIPPA DEEDOO

pic Graeme Tressider.

At the end I asked if there was anything people came wanting to hear and somebody called out for RUNAWAY, (The Moodists) which we then played. Somebody else wanted us to play Three Dead Passengers In A Stolen Secondhand Ford and we did that as well. We closed with CODINE.

 It was a very wintry day and we had a really fantastic time. Many old friends showed up and I thank them all.

On July 12th we head to Adelaide to play a final ZIPPA DEEDOO tour show at the Governor Hindmarsh. We have the Sunday Reeds opening. Tickets here.



Work is progressing on a new album. Settled on a title and Tony Mahony is working on a  cover.  
It's sounding great! Credited to Dave Graney and Clare Moore. October, I hope. 

On the show I do at Triple R I just got an album by a band who proudly say its "their first for twelve years".  Strange, they must be very rusty, you would reckon.




"the Serge Gainsbourg/Lee Hazelwood/Jim Morrison/Scott Walker/Skip Spence/Ern Malley/Lenny Bruce of Australian music.
A genius songwriter with effortless presence and command, and yet also an invisible chameleon, a reflecting surface, an anonymous conduit.
Anyone who saw his and Clare Moore’s ATP sets last year will not want to miss these.
Dave is one of the all time greats. I learned much of what I know from him. Rock and Roll is where he hides
”. Stewart Lee


"You can dip in almost anywhere into the vast Graney catalogue and find something deeper and more satisfying than the pop fizz of the day. But if you are starting out, this album and attending a Graney gig on an extensive Australian tour in the next few months is an excellent place to begin".
Noel mengel - MusicTrust.com
"This is your Guernica, your Imagine, your XYGTHO Phase 3, your Raging Bull. Everything you have created before has culminated in this true masterpiece of recorded music. Life, Death, Pathos, Humour, Groove and above all Aplomb = Zippa Dee Do what is-was that-this? Congratulations to you, Clare and the mistLY and thank you for an album that will be on regular rotation in my shack for the remainder of my days".
Grame Tressider
"Dave Graney and the mistLY new album “Zippa Dee Doo What Is-Was That-This?” - guaranteed deep grooves, dangerous themes and hip-heating hot Rock action.
Get the good oil at Rocksteady Records"
Pat Monaghan
"This is described as a “rock and roll” album and in that it reflects music from the late 60s/early 70s (pre-punk if you will) that is a reasonable description but i’d say it goes beyond that basic description as there are modern elements, nods to jazz, the use of current technique, and of course the unique Graney/Moore stylings all present. It adds to and enhances a formidable body of work.
I commend it to you without reservation"
.
Bob Osborne - Analogue Trash Radio (UK)
Graney has always been a raconteur – with equal doses of smooth, smug and wit. They say rock ‘n’ roll is a musical genre on the decline – but with this unusually titled album Graney has raised the rock ‘n’ roll flag and wears his love for the genre on his sleeve, meshed with some blues and psychedelia.
An album title that will cause confusion, but a set of songs that remind us of what a maverick Graney is. Liking his music will make you feel smarter!
"
Brian Parker- Your Music Radar

”...brilliant show. Best band in this country by miles. Graney and Co. are totally unique. Whatever line-up, always amazing. And FUN!”.
Jon Schofield (musician)


"Just a quick note to say how much I’m loving the new album. Front-loaded with hits, and then a series of great band workouts. Superb.
Can’t decide which version of ‘Song of Life’ I like best. And ‘ULTRAKEEF' is a bloody classic. Am spreading the word on that clip.
And surely you’re catching up to - and have maybe even overtaken - Mark E. Smith in terms of output! Congrats, yet again".
Tony
.
"Dave Graney gave me his new album Zippa Dee Doo whatis-was that-this. I saw the Mistly perform 'ultra keef' at one of the those marvellous Croxton Sunday arvo gigs. Fell in love with it and asked him if I could record it. Ending up recording a bit on the album, Dave mixed it. So many great f words on this track, very cathartic. A story about keef, everytime I've seen him play it the lyrics are different, genious".
Idge (Soundpark)

"Had this on high rotation today whilst driving from one place to another and back again. It’s a fantastic and thought provoking unique new album from Dave Graney and the mistly. A whole bunch of truly original well played weird, whack and wonder existentialist outsider art with the usual dash of wit and humour- oh and I can’t stop singing the hit song over and over in my head, “Bam! Baby I wish I’d been a better pop star” - excellent work guys - love it!- congrats".
andy jans brown
 
Dave Graney and Clare Moore CD Let's Get Tight available at iTunes and Bandcamp now.
"* #EzRepost @coiledsprings with @repostigapp
I can’t forget the bill that hot night at the Palace in St. Kilda many years ago…The show opened with a guy called Dave Graney, the song and dance man, the loveable rogue, ‘the love rustler’ with his Coral Snakes, and the serene Clare Moore keeping everything together in the back. Then the Cruel Sea shambled onstage with Tex Perkins, tearing a hole in the night, a bellowing, rancid Lizard King in a ripped Jaws t-shirt. Finally, the Bad Seeds, with Cave mounting the fold-back, capes flowing in an impossible wind, like some perverse southern gothic evangelist, braying to the raptured who were already certain to be damned, and didn’t care. The Palace heaved that night with sweat and obscenity. And we were right there, in Melbourne, at the molten core of the rock world, drinking in the magma. Not even a thousand beers as we poured out of there, and drifted over the tram tracks to the Esplanade, could calm us down and quell the charge. But it was the unstoppable Graney, in his natty jumpsuit, with his wit, and his ways, dipping into the slow chords of ‘Night of the Wolverine’, that we knew we’d found a poet, whose lines were etched like the statue of Carlo Catarni outside and had announced himself, that night, there and then, as a put-down-your-glassss superstar. xo
HandSolo

#davegraney #nightofthewolverine #recollections #thepalace #stkilda #melbournerocknroll #thecruelsea #nickcaveandthebadseeds #coiledspringsstudio

Monday, June 24, 2019

The splintering



 

Its been a worrying time of hotels and strange, nagging discomfort...
I was in Darwin at a friends place a little over three weeks ago and enjoying some company and food when I moved in the deck chair and felt a splinter prick my right glute.
The next day I was in bed and realized it was still there and was able to retrieve it. I extracted it. Pulledit. Ouch! Drama! I know!
But I am a rocker. Also, I was raised on the much feared east side of Mt Gambier and played for the evan more fearsome East Gambier Football Club. It hurt like hell but I showed no sign of pain. 


We returned to Melbourne and I did a Parlour gig and then a show in Adelaide  where again, I slid into a bed larger than my own and felt the presence of something still in the right glute. More splinter! I did another show in Kyneton and then started to google the possibilities of splinters working their way through your body to your heart or worse and then, just as I was about to dial the ambulance, I heard of a product called MAGNOPLASM which draws out splinters. I scored some from a dealer in Upwey and applied it. A really hard GOO which is placed on a bandaid and then onto the affected area. A week later it came out .


In the meantime I had struggled through solo shows in Nambour and Brisbane. Just like the novel by Julien Green, EACH MAN IN HIS DARKNESS.
Clare Moore and myself had also had a days and night out in the hitherto undiscovered area of reclaimed swamps and industrial land that is called DOCKLANDS. Apologies if the images are blurred but I was still dealing with THE SPLINTER and had not yet told Clare Moore of my perilous situation. It was all I could do to press the button on the phone.




We used to live nearby in Port and South Melbourne for a lot of the 90s. It was then quite empty and desolate, just the sort of cityscapes we love. We walked around the bottom end of Spencer st near the Waterside Worers Hotel which used to be the earliest place a hardened drinker could rush a growler in the city. Nearby was where I got a tattoo in 1981, because Chris Walsh and Tracy Pew and everybody else had done so...Yes, it was quality peer pressure.
We had a refreshing lemon squash in a pub that had been built inside a former police staation. People could dine in what used to be cells. The building was all in magnificent bluestone. We went two steps into what for a decade or more was a derelict hulk called THE DEAD LETTER OFFICE but was now a poker machine hotel. Two steps in and the security guard was barking at me to take my hat off. This was at 4:30 pm on a Monday afternoon. "Is this an RSL?" I asked. 
He replied "take your hat off..." 
"Do I have to respect the poker machines?" I asked.
"Take your hat off" was his reply. (Its for the security camers or facial recognition)
There was nobody in there but him.
We left and continued walking. We only wanted to look at what they'd made of the building. 
(It reminded me of the time I was refused entry to The Cherry Bar -a bespoke rock n roll cculture bar....- because I was wearing a  suit. The security had been told not to let "suits" in. ) 

We walked past the tower block which had caught fire recently. Cheap, flammable cladding. There was an inquiry and none of its recommendations have been taken up. Of course. Not.


Hopefully the entire area will become cheap apartments for vintage bohemians?

Still. The splinter was preying on my behind. I told Clare Moore of my parlous condition.She humoured me.

The show In Nambour  on the Sunshine Coast was just me solo. I borrowed Matt Walkers enormous metal guitar roadcase and took off with my 1958 Ibanez Archtop and a suitcase with pedal board and books and CDs in it.


I was wearing a grey showbiz coat with black satin collar. 
The car I hired was upgraded to a Toyota Landcruiser, like a yacht. It took me an hour to understand the electronic key and how you couldn't test if the door was locked if the key was in your hand or pocket as it automaticaly unlocked when that key was anywhere in proximity. This shit is TOO smart.

I played to a full house for two sets through an amp lent by the venue owner ( who is a member of the great SHIFTING SANDS) which was a Vase head through a Vox cabinet. 

Requests were for MORRISON FLOORSHOW, THREE DEAD PASSENGERS IN A STOLEN SECONS HAND FORD and ROCK'N'ROLL IS WHERE I HIDE. All of which I did. Someone had asked for DEEP INSIDE A SONG but I didn't feel like it. They'd asked for one of the others.

I had been worried about the Brisbane venue as I didn't think it was the right fit. We were to have been doing two nights there with the mistLY but at some point I cracked it and said I would do it all solo. Sometimes I get fed up with the amount of work - especially PR - that is put onto the musician to do for a show. Lots of venues are like this, I call them ROBOGIGS. Like Formule 1 motels. 

Anyway, I booked into my hotel and strolled up to the venue, the owner was heavily tattooed and looked beleagured with life. He asked me if I'd organized a door person. I left him with the idea he was to look into it. The venue looked like some sort of den in Amsterdam. I still felt pretty fresh.

I came back to the venue and spoke on the phone with an old friend outside on a bench in the sun as a rockabilly band pounded away inside. 
My friends Pascalle Burton and Ian Powne came along, Ian with a  Vox amp and Pascalle with a commitment to doing the door- and I hadn't even asked. What a champ! 
Pascalle and Ian are from a great Brisbane band called the Stress of Leisure.

picture Pascalle Burton

I played two sets to a pretty well full house. Brisbane people have a way of finding you. Venues chop and change so much its always stressful going up there to play. The young sound guy was great to chat to. He is from a band called REQUIN.

Requests were for FEELIN KINDA SPORTY and RAW POWER, the latter from a very drunk man.
I played songs from ZIPPA DEEDOO WHAT IS/WAS THAT/THIS? as well as lots of older songs, unrecorded songs and covers of the Rolling Stones TIME WAITS FOR NO ONE and CHILD OF THE MOON.

Picture Melissa Field


My audience is vintage and scattered and I love it when they are able to tune in and turn up. Its not easy in the modern, atomized world to keep in touch with anything.

Oh, the second splinter had come out in the afternon before the gig. 

We are playing in Melbourne this Saturday night. June 29th. This is the city where we live and where we play the least.  This will be a great room and a full rock'n'roll show. Not like those other shows, PROPER!

Saturday June 29th - The Caravan Music Club - Bentleigh Special guest Sean McMahon
 
July 12th - THE GOV - Adelaide.Special guests The Sunday Reeds




Oh, work is continuing for our second album for 2019 and it should be out in November.
In the meantime I am looking for a venue to do a loose night in. A Monday or Tuesday night. Just fooling around with songs. Unstructured. If you know of any, get in touch. No ROBOGIGS. No publicity unless the venue wants to do it.

Also keen to do PARLOUR GIGS.  Set one up here.

ZIPPA DEEDOO WHAT IS/WAS THAT/THIS?

ZIPPA DEEDOO WHAT IS/WAS THAT/THIS? (The title comes from the chorus of “Song Of Life” ) is a classic rock’n’roll album. Classic if you lived through what has become known as ”the classic rock era” as it rolled out new and even broke onto the beachhead and morphed into punk. That’s the direction Dave Graney and Clare Moore have always been coming from. They have spent their lives schooled by and immersed in rock ‘n’ roll culture. Neither attended higher education and they dived in deep and kept swimming. From the Moodists through the Coral Snakes /White Buffaloes to the mistLY This is an album with their band, Dave Graney and the mistLY. Stuart Perera has played guitar with them since 1998 and Stu Thomas on bass since 2004. MARCH 2019 ZIPPA DEEDOO WHAT IS/WAS THAT/THIS? 2019 album out on Compact Disc - available here via mail order...
If you are from outside of Australia and wish to purchase a Compact Disc copy of ZIPPA DEEDOO WHAT IS/WAS THAT/THIS? please use this button (different postage)

LETS GET TIGHT

FEARFUL WIGGINGS

2014 solo album from Dave Graney. *****"If I've learnt anything in my years of writing about music it's that if you are going to do anything of worth in this tough game, you better have your own thing. Today's generic is easily replaced by tomorrow's. And yet you need to be flexible, to follow wherever the songs demand. In the case of this, only the second credited as a solo album among 30 or so Graney releases, it's a curious yet welcoming lane he walks you down, with acoustic guitars, not much percussion, vibes, smooth sounds. At the end of it you feel like you've awoken from a strange yet pleasant summer's dream. As shot by Luis Bunuel. It ranges from off-kilter reveries (A Woman Skinnies Up a Man, The Old Docklands Wheel) through to the softly seductive (How Can You Get Out of London) and the downright arch (Look Into My Shades, Everything Is Great In The Beginning.) This is music that is neither folk, nor blues, nor country, but it's all Graney, somewhere out to the left field beyond Lee Hazlewood's raised eyebrow. It's astringent on the tongue but sweetens in the telling." Noel Mengel Brisbane Courier Mail

you've been in my mind

June 2012 super high energy pop rock album - blazing electric 12 strings - total 70s rock drive. Greatest yet! available via paypal - $20 pp

rock'n'roll is where I hide/- 2011 "vintage classics/ re recordings" on LIBERATION

SUPERMODIFIED - August 2010 remixed/re-sung/re-strung//remastered/replayed comp via PAYPAL

also available as a digital album

Knock yourself (2009)-first ever dg solo set-filthy electro r&b-available via Paypal- $20

available as a digital album too

We Wuz Curious (2008)-blazing R&B jazz pop album available via paypal-$20


UNAVAILABLE-COMPLETELY SOLD OUT!!!
AVAILABLE AS A DIGITAL album

Keepin' It Unreal-(2006)-minimalist/lyrical vibes,bass and 12 string set - digital or as CD

Hashish and Liquor (2005 double disc by Dave Graney and Clare Moore) available via Paypal $25


UNAVAILABLE-COMPLETELY SOLD OUT!!!
Single album HASHISH available as a digital release

Heroic Blues- "folk soul" set from 2002-Availableas a digital album via BandCamp


UNAVAILABLE ! Completely sold out!

It is written,baby-book released 1997- available $10 via paypal