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

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

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Current album Dave Graney and the mistLY LYVE AT BYRDS. Two albums in 2020, "Dave Graney and Clare Moore In Concert with Robin Casinader" and "Dave Graney and Clare Moore with Georgio "the dove" Valentino and Malcolm Ross". Two albums in 2019. ONE MILLION YEARS DC by Dave Graney and Clare Moore and ZIPPA DEEDOO WHAT IS/WAS THAT/THIS? from Dave Graney and the mistLY. 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 Dickey Betts, John Cippolina or Grant Green - but not in this lifetime, I know.

Friday, January 29, 2010

Dark Matter/ black truth / beyond the stars

I would like to talk to you about exciting music. Around 1995 I went into a cd store in Sydney, behind the Metro theatre in George street. It was a  tiny little store and is still there but back then it was a portal to another dimension. The shop was pretty much a hip hop exclusive joint so it operated by all the rules of that audience. There were no rock posters or flyers anywhere of course and there were usually a few young fellows doing their best impression of "hanging out" by the counter . Nobody looked like they were working. It was like being in a giant jukebox and you  had to hang on and listen and look. (I'd  once seen the same kind of scene at Hound Dogs Bop Shop in Melbourne, with geezers who were probably this crews parents). 
It was  a great time. Mainly , for me, because of the Wu Tang Clan and their ever expanding universe. They were, as the poet said ( dunno who) a palace within a labyrinth. Sometime in the early 90s they had dropped their first album, " enter the 36th chamber" which contained their threat/promise/dare , " the wu tang clan ain't nuttin' to fuck with!". They were a real clan. An old fashioned mysterious clique who had the strange aura of a 1930s radio serial about them. They were shrouded in smoke and mirrors and mystery.Here is a list of characters for you. I know very few of them .  Aside from the basic (?) crew of the RZA, Ghostface Killah, Method Man, GZA, Raekwon, ODB, Capadonna etc…who knows ? ( Live reviews of the Wu were mostly discussions of who was actually there and who they were supposed to be and who the new guys could be ) 

Like a lot of people, I’d been keeping an ear open to hp hop since it broke onto the mainstream. I’d loved Schooly D  from Philadelphia who pretty much invented Gangster rap in 1985 with “PSK what does it mean” and the incredible "saturday night”. (“It was saturday nite an’ I was feelin kinda sporty”) I was late on the Wu scene however , which made it even better for me. It was like an endless trail that led into the past and into the future and it looked like it was impossible to pick up the thread. ( It was kind of like getting into a story halfway through and nobody was there to guide you. Fans of “Buffy the Vampire Slayer” and its even better offshoot “Angel” would know the feeling of trying to explain that shows allure and joyous mystique to unbelievers). I used to trade tapes with David McComb with the latest hip hop or dance r&b sounds we liked . Nobody else we knew was interested. I still have one with Urge Overkills "Saturation" on one side and Nas' "It was written" on the other. I had, over the previous year or so, picked up my way towards the colossal tower that was the Wu Tang Clans house of mystery by getting into the solo albums of each of the individual members. See, the Clan arrived fully formed onto the scene and then exploded right in the middle of the mainstream with each member releasing solo albums on different labels. It was a play that had only been tried before by George Clinton and his Funkadelic / Parliament crew. They were writing their own story, not living out the myth as set out by the texts of a cold and dry wanking music business. It was thrilling to watch. 
I'd  got a record called Genius/GZA- Liquid Swords. I didn't know what was the name of the album and what was the artist. Likewise I got Ghostface Killah/Ironman. The latter was full of references to the comic book character with his alter ego / real life identity, Tony Stark. The Wu always led you down these dark alleys where more was revealed and  even more was hidden. You had to keep going. There was little talk of ho's and bitches but a lot of shaolin imagery and snippets of dialogue from strange action films. Anyway, they dropped their first album and then they all dropped their solo discs. It was one of those things, like a great bank heist. You watched it all fall into place , even  though city hall had it locked up so tight it looked impregnable. They just summoned up their own momentum. Like a wind from nowhere. And the greatest scam was that the roughest and most black and most damaging  of them all, Ol' Dirty Bastard, suddenly appeared on a tv set nearby duetting with Mariah Carey! It all happened that quickly. ( I heard recently that ODB had clued his record company in with his grand plans , which included the album cover with welfare food  card and the duet with Mariah and the undeniable truth of his character…and it all fell into place. The only problem being that , in the meantime, he had discovered crack cocaine and then the court appearances and the prison sentence and the brilliant second album and his sudden death in a studio in 2007  happened. Thats what I mean by quick. Lightning quick. Like life itself, full of glimmering possibilities and sudden departures and slamming doors).
So, I went into the shop, looking for clues to all this mysterious activity, the Wu were yet to bring out their second album. (It dropped on July 4th 1997) . Tupac and the Notorious BIG were playing out their strangely pantomime duel/ gang war which actually / terribly/ crazily resulted in them both being shot  dead. In real life. And Puff Daddy taking both their places with a tribute rap across "every breath you take" by the Police! What a hurricane it was that was blowing itself out! . Slick Rick was also in gaol . Tricky was fucking with everybodys  mind in the UK . Over in the rock world, they were still coping with Kurt Cobains suicide. Oh, and all the Wu Tang Clan lived in their special compound on Staten Island and go to any outer suburban market and there will be stalls selling bootleg versions of their Wu Wear clothing line. They are ever elusive on their island eyrie but their reach extends everywhere! Cue ominous strings, a mad laugh and a voice booming, "What evil lies in the hearts of men? The Wu knows!"
All the cds in the shop had photocopied versions of the album covers in the cases. In the world of rap, nothing is ever discounted and the kids love to pay top dollar. (If they can't steal it) The funny thing was,  I found a whole other world while I was on this case. It was  a series of compilations of Latino hip hop called "Lowriders". On Thump Records . ("The Party Label!") Each disc featured a voluptuous model in an evening wear / video shoot bikini standing beside a hotted up lowrider car. The cover was emblazoned with warnings that it would blow any ordinary speaker up . There were about ten in the series. I picked one at random and I must say, that cd  has never stopped giving. I have never heard music like it anywhere else. Funny samples of 80s sounding electro tracks with latin street hustlers rapping all over them. Weird names like "late night creepin" and "aztec funk" and "ground shakin' switches". The artists were fellows with tags like "Click the Super Latin" , "Lawless" and "the sleeze boys". Its is also the only rap cd I have heard that features a sample of Santana
Of course, like a caravan in a fairgound in a  horror movie; I have been back to that shop and it has never appeared so full of intrigue and promise. Never the same ambience. And I have never seen any of the other volumes of "lowriders". They , and the world that I glimpsed so feverishly disappeared like snow. 
That was a glimpse into a world of possibilities. A world that moves so fast. You see the televised Grammys and the black elite artists are there. They are dressed the best and have the most street glamour. They are gods. Yet they are treated as strange figures on the margins as opposed to the main attractions of the rock world. All the people I've mentioned would be seen as "old school". Jay Z carries himself like an olde worlde retiree from the footlights. He has bought the world and now toys with it in his own Xanadu like mansion like Hearst and his "rosebud". Outkast and the Neptunes are connected to other planets. People line up to be blessed by a Pharrel Williams hook or beat. It works every time. How can a modern day Fabian/Shaun Cassidy  like Justin Timberlake fail with Pharell on his side? 
Meanwhile, in the world of rock, young artistes argue angrily in the pages of papers , outbidding each other on how much more they love AC/DC than that last rock band who was talking. And the sad ones whisper about Leonard Cohen or Neil Young. And they all love the Beatles. Especially Paul. (The most radical especially love his last album) . Because there is only old school in rock music. Like Bob Seger said, "Rock'n'roll never forgets". Radio tunes it all smoothly. Punk rock was an abberation. We recently had a  very successful  Prime Minister who  has said he is "optimistic about the past" . And the culture struggles to breathe in this  gelatinous miasma. 
I sometimes pick up hip hop compilations and , the ones that broke through to the mainstream, (Tone Loc, Redhead Kingpin, Young MC, De La Soul), are so engineered for sensation and immediate hooks that you could hang off for days that they launch out from the cd covers at you. In some ways they're so familiar I have no feel for them. In other ways, I sometimes pull out a rap cd that I've had for years and it always reveals something to me that I just couldn't catch at the time . I was off key or too slow or not ready. I love that duality , that combination of audacious, brazen nowness and look out tomorrow as well that they bring to the grooves. They were all trying to land bang in the middle of things, but bringing the noise as well. I could recommend many disc of course but  some  state of the art 90s epics of studio magic and tv news sensation would have to be Tupacs "All Eyez on me" (double disc, too many intimations of death to be true .Never stops giving) and " Voodoo" or “brown sugar” by D'Angelo. ( That disc still drips something out every time I slip it in the player.) 
My favourite antihero of rap would have to be Kool Keith under the guise of Dr Dooom. His music is creepy and synth based (no samples) yet full of hooks and his mad tirades against the world at large and especially the world of music are great.
Then there is the incredible fluid schemes that make up more recent rap. And this stuff is incredibly successful and POPULAR. The last two albums by NAS being amazing works by a  socially conscious musician and the playful , stoopid scenarios dreamed up by Lil Wayne from new Orleans. The latter being influenced by both his native city and the local taste for “Purple Drank”. Liquid Codeine mixed with Sprite. 

Dave Graney, Knock Yourself Out  , old school weirdness est 1978

Tuesday, January 26, 2010

rock n roll saturday

After playing the show in the new Canasta Belt area of Melbourne, I went , the next day, to the Victorian Hot Rod show at the Exhibition buildings. A friend from Mt Gambier was bringing his '34 Ford to the event. Driving all the way, must have cost a bundle in old fashioned petrol. Buggo is his name and the car has"3/4" in musical notation across the tiny passenger side door. On the glovebox it says "Desolation row". Another friend, Ric, had his '49 Ford in the car park as well. This was outside the Exhibition Buildings. The real Hotrod show was inside but it was more informal outside.
The park was full of guys looking at cars and engines and sharing photos of cars. A man walked around with a pocketfull of vintage (pre and post war) Ford keys that he would cut on the spot for anybody who needed a new one.

We then went to Festival Hall to see Them Crooked Vultures . I'd only been to this joint once before, to see Red Kross and the Hoodoo Gurus in the mid 90s. It must be the longest running venue in Melbourne. Since the 50s at least.

Them Crooked Vultures filled the hall twice. this was the second night. A real hardcore rock'n'roll crowd. John Paul Jones on bass, Dave Grohl on drums ,Josh Homme on guitar and vocals and extra guitarist/basisst/vocalist Alain Johanne.

I'd had the cd for a week or so but it was all pretty new to everybody in the building, except for the band. It was a total 70s kind of experience. The audience there for the band and the band playing music with no nostalgic content at all. And it was great!

Incredibly complex time changes within songs,f alsetto vocals and long instrumental passages . John paul Jones played bass, mandolin, keytar and piano . I thought Dave Grohl would explode spontaneously in the first song. Josh Homme was havinga ball. It was such an exhilarating , living experience.

On the way out we were shooed along by the New Breed security people. We were on the street, which was barricaded off to traffic.. I turned and asked the young gent where his jurisdiction ended as I was tired of him yelling at me and we were private citizens once again. he wanted to argue, saying he could call the police.A female worker came and defused the situation.

Security people are out of control.

Doing the following dates soon...

Sunday Jan 31st (afternoon / evening) Grand Hotel- Yarra Glen.

Thursday 11th Rosie O'Grady's Northbridge - Perth WA

Friday 12th Prince of Wales Bunbury

Saturday 13th Clancy's fish pub, Fremantle

Sunday 14th Colonial Brewery, Margaret river

Friday, January 22, 2010

working- player

Drove in to play a solo set or two at a cafe in the Docklands. Listened to Johnny Thunders Heartbreakers and Bert Jansch and John Renbourn on the way. I had my 12 string acoustic and my six string and my acoustic amp. The Docklands is the new , well, built over the last decade or so, part of Melbourne by the river . I take the wrong turn off the freeway and drive around in a circle, past the Docklands stadium twice and then do an illegal U Turn to get to the right street. The address is a curved building. i walk all the way around it and the numbers keep changing. There is an incredibly evil, hot wind blowing through all the new multi storey apartments.
I make the gig and set up my gear. Its a funny vibe, lots of "downsized" retiree types. I feel like I'm in Miami or the Borscht Belt. Maybe even a new Canasta Belt.
I am ready for anything nowadays though. I sit and play my music facing the river and the newest skyline of Melbourne. My amp is singing and I just pick the strings and sing my songs. I'm down to my skills. People are inside and outside,eating. I figure its no place for a performance so I just run through dozens of songs as if I'm rehearsing. New songs, instrumentals, old songs, stoopid songs. Its a new society here. We're making it all up. People walking their toy dogs. The river in front of me is a forest of yachts and powerboats. I am getting paid. I have a couple of diet cokes and plough through the changes. I play for two and a half hours. I wish there were more gigs like this. For the lone wolves. The independents. If you were a precious artiste , this joint would smoke you. Same if you were an entertainer. I keep it suspended.
I have a cool time and sit around with the young fellow who is getting the gig together. His family have lived on the dock for six years. He has seen the skyline across the river get built. I ask what the tram is that I can see. He says its Collins street, now its crossed the river too. Its a whole new city.
I pack my gear and drive back to the hills listening to Grant Green, drinking some more pop. Here I am typing up a report. For the players.

Sunday, January 17, 2010

protest at closure of tote hotel

Went to a protest at the Tote yesterday afernoon, a windy and cold day in Melbounre. The venue is closing due to inability to contest ( legal fees) VCAT / Liquor licensing people) or dispute new regulations (made in response to street violence in the city outside large nightclubs) which have increased licence fees markedly and also require extra security , CCTV etc. The pace is defunct and a big show is happening frommidday today.
The protest was called via online social networks and teh hotel wasn't involved. A few thousand people were there and the streets were cordoned off. Quite an amazing response from a normally pretty apathetic crowd. The government is playing to the outer suburban elecorate ( I live in that area) and won't back down. They never back down on anything, its seen as weakness for an elected government to do that. But aren't they supposed to listen to people?
I have emailed a few government minsiters with my protest. I include this letter below.

The local member had the grace to reply. He uses the political tactic John Howard used so well, to focus on minute detail to bore everybody out of the picture. If yu're in Melbourne. Why don't you use the email addresses and add your voice to proceedings? Vent ! Give them a spray! They are fucking with our world here!

I have always been a leftie. The modern Labour parties are up Big Business arses in a totally embarassing way. They ponce around in their Eddie Maguire aproved Italian suits (They don't even remember he was copying Keating) and talk over our heads to the people who don't , or might decide to , vote for them. They're far too smart. The Liberals? Well they seem to be sniffing around this issue but only to win some political advantage. There was no reporting of this protest in the newspapers today. All the entertainment reporters obviously off , embedded in the Big day Out tour.


dave graney / clare moore
16/01/2010 06:02 PM

Richard.Wynne@parliament.vic.gov.au, Tony.Robinson@parliament.vic.gov.au, Rob.Hulls@parliament.vic.gov.au, Bob.Cameron@parliament.vic.gov.au
licensing laws- crushing melbourne music

This closing of the Tote due to strict requirements of the licensing
laws is BAD for Melbourne music. And Melbourne is noted
internationally for its music scene. Do your really want to kill it
off? Do you think Melbourne will be praised for its security
companies performance?
I am talking about live music. Not the clubs for sped drinking where
there is no focus for anybodys attention except each other. The big
clubs in the city nightclub areas. I am talking about these places
which provide culturally interesting and accessible performances for
I saw the Minister for Police on the television giving the usual
Brumby government " we will not listen to anybody" hairy chested
response. Why don't you listen to somebody for a change? This is a
scene which is being screwed up. If the musicians were farmers you'd
be listening to them. I might also point out that most of the people
being upset are not young people. Some yes, but mostly people aged 30
and up. Some older than any of you. Live music is not a thing for
young people. They are generally not interested. They're at the big
The people you are really upsetting are probably all left leaning
voters as well. You're all doing your best to drive us straight to
the greens.
The Tote's demise has been noted nationally an internationally.
When the minister was speaking about "not resiling from the
governments position" , he was ,as all Labour people seem to do,
talking over the heads of the people being affected to some other
crowd, perhaps the 'real people".
I have been a musician for three decades. One of the few who is a
professional player. Where is the next generation going to learn any
skills? As I type I am finding it very hard to control my anger at
this patronising, ill informed, square and pious one size fits all
approach from you lot. I do not expect anything better from your
opposition. Why not take the opportunity to surprise everybody with
some sensitivity and guts. the guts to admit you were wrong and try
to get it right,
dave graney

The response from the local minister

Dear Dave and Clare,

Thank you for your email regarding the future of the Tote Hotel in Collingwood.

I was disappointed to hear that the Tote’s licensee intends to close the venue this month. The Tote is an important part of Melbourne’s music scene, and as the Local Member I am very aware of its history and status.

As you are aware, the Brumby Labor Government is reforming the liquor licensing system because we want people to be able to enjoy a night out in safety.

Concerns have been expressed about how this new licensing system will impact on the Tote, as a result of both the higher fees licensees will pay, and the additional conditions that late trading venues will have to meet.

I also understand that the Tote’s future is complicated by the lack of a long-term lease agreement between the owners of the Hotel and the licensee.

My understanding is that last year, the Tote paid $4289.50 for a liquor license. This year, because of the new risk-based fees, the Tote was liable to pay $5962.50.

The additional conditions that some late trading venues are required to meet include employing additional trained security staff, installing quality CCTV security cameras and ensuring that all staff in the venue are trained in responsible alcohol service.

Under the new licensing system, these conditions will apply to the Tote – however the Victorian Civil and Administrative Tribunal (VCAT) granted a stay from the conditions last year so do they not currently apply.

I am aware that many venues and artists involved in the live music scene have raised concerns about how these conditions affect smaller venues.

In my view these concerns warrant further examination by the Director of Liquor Licensing Victoria.

I have relayed my views, your concerns, and the concerns of the many others who have written to me today, to my colleague Tony Robinson MP, Minister for Consumer Affairs.

I will be discussing these issues with Minister Robinson over the coming weeks and will of course keep you informed of the progress of these discussions.


Richard Wynne MP

State Member for Richmond
Minister for Housing
Minister for Local Government
Minister for Aboriginal Affairs

112 Smith Street COLLINGWOOD 3066
P (03) 9415 8901 F (03) 9415 8918
E richard.wynne@parliament.vic.gov.au

and my response

Thank you for your reply. The Tote is going , going, gone. I am not focussed on one place and one audience. Its the approach by the government. It is wrong! I repeat, Melbourne is noted internationally and nationally as a MUSIC TOWN and nothing seems to be done to nurture that, quite the opposite . You are crushing it with wrong headed , bare chested playing to an audience of voters who live in the south eastern suburbs. People whose children go and get drunk and fight in King street every weekend. In MASSIVE clubs with no live music.
You say the Brumby government ( I would call it the Victorian government, which represents the PEOPLE of the state) wants people to be able to go out and enjoy themselves safely. Well what if there is nowhere to go out to? Will someone listen to anybody directly involved then?
There is also no live music in the south eastern suburbs. Melbourne has entertainment precincts, for better or worse. For live music, these are Collingwood,Fitzroy,Richmond,Bunswick and Northcote. there are very few venues south of the river. What about some sensitivity to these issues in the government as opposed to leaving it all to law and order talk to the octogenarian 3aw crowd?

ps , there were a few thousand people at the protest yesterday outside the tote. Generated spontaneously by social online networks without the hotels involvement. You are touching nerves , seriously, in the community. This group of people would have been , previously, the most apathetic bunch of apolitical slackers who never cared about anything but they all got up and went out. You lot had better be doing more than the blowhard spinning of process and whatever other blather gets you by on talkback radio. Its a real issue .

Friday, January 8, 2010

rowland howards passing

I thought I'd write a little on the passing of Rowland Howard. I have no claims on him then or now, many others being much closer and they spoke eloquently at his funeral. I just shared the times occasionally.

Saw the Boys next Door before he joined and then afterwards. "Door Door" is an album thats just like that. Pre Rowland on side one and post on the other. He played a Firebird , a real plank and I think he got that great sound with an MXR Blue Box octave divider. My favourite song was "the hairshirt" with his amazing solo. I haven't heard it for many years now. Saw the Birthday party a lot , and played with them , and talked to him a few times through that period. He was playing a Jaguar. In the "prayers on fire" days it was great when he sang his songs in the band. “The Guilt Parade” was always great. He smoked very dramatically and leant into his amp in a  peculiar way all poised and pivoted on one leg, guitar swinging like a pendant. Great hair. Shared  a squat with him for a while in posh West Hampstead. Never saw him. Lived like the actor John Barrymore, high up in the garrett. Was into scarves and coats and pyjamas. I went up to the garret and he was smoking and playing his jaguar without an amp. He was talking about Jim Thompson, that was in 1983, when Jims books were just coming out again. He read a lot, I gathered. 
Saw and played with Crime a  lot and then These Immortal Souls. Remember him and Epic going off to see Johnny Thunders play at the Marquee. Nobody else was talking about Johnny then. 
Passed him in the street occasionally. Always  a  smile. Not a real sociable fellow. I mean he'd be out at his gigs and would not hang around afterwards. Straight back to the garrett. Found him easy to talk to. He did acoustic gigs, I thought he was best as an electric guitarist. He sounded great loud and wailing. Electrified. Acoustic is too intimate, I don't think he was into that intimate vibe, not on a stage, I understood that. 
Like many of his generation he carried  a story with him wherever he was. Uptight and given to drama. 
He came from Nunawading. There was a bunch of them, "the Nuna boys" Comically weird gang of outsiders. Actually the NUNA BOYS were more his younger brother Harrys thing. Him and his mates. Rowland had gone on ahead.

The funeral for Rowland was held on a Thursday at a church in Grey street st Kilda. I’d known there was a soup kitchen there and also, once upon a time an Op Shop, but never a church. It turned out to be quite a big Catholic church. The service had been made “public” at some point and all over the social networks a week away from the actual proceedings. A big crowd gathered outside in the hot sun, on the street and a bouncer let people in in an orderly way. Quite a few hundred people. Eulogies were given by Genevieve McGuckin who had spent most of her adult life with Rowland, then Jane Usher , who had been married to him in the 90s, then her son (and his step son) Tom also spoke , then Harry Howard and Mick Harvey, Pierre Sutcliffe read some words from Nick Cave, Conrad Standish ,Paul Goldman (who also read some words from fellow film maker Andrew Dominick) , finally his most recent partner, Bianca Murray spoke. Rowlands screaming guitar filled the church as the coffin was carried out.

People gathered on the steps for a while. A quite amazing crowd. Dawn Cave and Nancy Pew and Rowlands father Jock being the only members of the preceding generation I could note, the rest were just us, his peers and contemporaries - not so used to these affairs and trying to behave appropriately. The "public" nature of the funeral gave it an oddly self conscious lag. In general, people worked through it and it wasn't too hyped. It was real enough to anchor everybody.

There was a wake at the St Kilda Bowling Club, directly across the road from the Seaview Ballroom. That was the Beat Club where everybody had played. The only place thats ever mentioned. Everybody walked down from the church.

The wake was a gathering of people who'd shared some intense moments in that most intense and speedy of times, their youth. A time when they were making themselves up. Some got away from the scene and the times, others never moved far. A few rock n roll chumps were there to claim the body for their corny and dopey cause. Everybody's got to live. The rest were the original genius audience of the Boys next Door and the Birthday Party and many of their rivals from those days too. People I’d been incredibly intimidated by all those years ago, mostly these being the women. The men , when they had been boys, were all created for or by the women. Then they all ran off as far as they could, full of juice they’d been gifted with. I spoke to many people who were phantoms and it was as if it was the first time we’d ever spoken. People I’d been stupidly competitive with and realised I probably had more in common with now than ever before. Talked quite easily with some it was energising for days. It was a class reunion. In all sorts of sense of the word class. It was also a kind of school I’d been to.

Like many funerals, it shocks the living into life, for a moment.

Sunday, January 3, 2010

away trip

I’ve noted how much people enjoy the misfortunes of others and also occult knowledge so I thought I’d add a bit of stuff to the slew.
Theres this act I heard about once. they are from melbourne and have never been young and work in the pubs. They took their first trip to Sydney in the late 80s. They drove up and did a gig and then got shockingly drunk. They had been drunk before, but this was different, like a trip away. One was comatose before the others and they were all sharing a room. During the night, someone got the idea to have a bit of a joke. They knelt down and kneed the prone figure vigorously in the arse. Then they pulled his trousers down, one of them masturbated into a condom (and they were all mature adults) and left the said sheath nestling between his buttocks.
The next morning they drove back to Melbourne. Instead of the explosive mirth that, when they were drunk, they had gleefully anticipated, the bruised one was silent and pensive for the whole twelve hour trip. He was deep in thought. Days later, over a few drinks at another gig, he confided in another member of the band that something odd had happened in Sydney. It wasn’t funny to anybody.
The band has continued, with the same members and I hear they are soon to be travelling to an unnamed North West Asian country for an end of season trip to end them all. One of the members is reaching a significant age and the others have decided its a moment that deserves a good time for the whole band. They have been salting the dosh away from a few years from gigs and will soon be prone in an opium den somewhere with many persons attending to their last blushes of shame.
I think its a great thing that this sort of creative debauchery is still to be found in this world of strict public law and order and economic anarchy. That its a Steptoe and Son type situation makes it even better.

Dave Graney and Clare Moore with Georgio "the dove" Valentino and Malcolm Ross

Dave Graney and Clare Moore with Robin Casinader - In Concert


Starts with a Kinksy groover sketching a 21st century populist tyrant who coasts in power on waves of public resentment at those on the lowest rungs of the ladder (He Was A Sore Winner). Sweeps across a sci fi terrain with nods to songs in the sand at the end of the world (Pop Ruins) and nods to the ties that bind in the underground communities (Comrade Of Pop and Where Did All The Freaks Go?). Songs about intense, long relationships, defunct technology that didn’t answer back, severe social status definition (I’m Not Just Any Nobody), people wandering through your mind as if it was a garage sale, the anxiety of the long running showman (wide open to the elements again) and ends with a song that’s “a little bit Merle Haggard and a little bit Samuel Beckett”. " Edith Grove! Powis Square! 56 Hope Road! Petrie Terrace!.. The Roxy! The Odeon! Apollo! Palais! Olympia! The Whisky! Detroit Grande!” Pop Ruins!"


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)



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


Keepin' It Unreal-(2006)-minimalist/lyrical vibes, bass, 12 string set - CDs sold out - digital only

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

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