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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2022 ROCK album with Clare Moore IN A MISTLY to be released 11-11-22 WORKSHY - 2017 memoir out on Affirm Press. Available at shows or via website. 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.

Sunday, November 20, 2022

IN A MISTLY- some notes on the songs.

 This album has been received very warmly by people who have heard it and we appreciate the kind words that have appeared on Social Media. Thank you!

art by Tony Mahony

IN A MISTLY is available via Apple Music and all other portals.

 Available in a Compact Disc via Bandcamp.

We are doing some online shows again but won't be doing any live work until 2023. Here are some links to the next online live sets.

Thursday 24th November at 8pm.

Thursday 1st December at 8pm

Sunday morning 8am 4th December. Which is, of course, 9pm Saturday UK time, 5pm Saturday USA EDT, 4pm Saturday USA CDT, 2pm Saturday USA PDT.


Clare Moore and Dave Graney - photo by Ilia Kupriianov

1 Silver Bullets  3:29

This is played in open G tuning. Stu Thomas on bass and Stuart Perera on guitar. Clare and I started playing it in our online shows in mid 2020.  It seemed like a groover. Folky arpeggio in a Led Zeppelin style . (I often refer to my songs as being within the realm of another artists aura or shadow as a kind of note to myself as to how to play it, the tempo and attack of the playing. It doesn't really mean its a literal attempt to imitate something).

2 The Old Swagger 3:56

We must have rehearsed this with Stu and Stuart before our 2019 album ZIPPA DEEDOO WHAT IS/WAS THAT/THIS? It was hard to get going as I'm often starting a chord progression at a different spot. It's hard to find the "ONE" for the beat. Clare is used to it. Its often "1-2-3-4-1", sometimes its on the "and" if you get my drift.But this was very frustrating as we couldn't lock into a groove. Then we got back to it three years later and Stu and Stuart found a way in, a way to lock into the groove. Both played brilliantly on this track, Stuart Perera playing some sweet 70s licks all through it, but especially when he answers the raga type lines of mine in the chorus.

3 Tang 4:12

 This started out with two chords, a C and an F. Both containing B and E notes in them. Then I worked out a change from A# to Ab to A and the chords wanted to be played in a really "new wave" style . All down strokes wth the pick. On the beat. I had been playing my guitar with an MXR Phase 100 pedal as I really wanted to get the sound that Keith Richard had on the Stones album  Some Girls in 1977/8. That was their reaction to punk and their last really great album.
I thought it should have a really propulsive, straight ahead beat like those 70s German pre-punk bands and the bass a lot like the early Cure. I played the guitars and the bass and Clare Moore played the drums and the piano and Will Hindmarsh aka Twinkledigitz sang some background vocals.


 4 How Can I Be Old?  3:40

 Dave Wray on sax, Clare Moore on drums and keys and myself on acoustic and electric guitars.
Another song in a kind of post punk or new wave style with flat fives on the A minor chord.
The lyric moves around a lot, like all my songs. I don't write with messages or to get to A point. I like lots of different points. I like the thing to have a living flow.

5 What Used To Be There? 5:22

Clare Moore and I started playing this during our online shows in 2020, when Melbourne was locked down. It was very fully formed when we brought it to Stu and Stuart. Lyrically its a very straight ahead song, musically it has some great, disparate elements. A new wave style downstroked guitar in the verse to a quite high, folk-rock chorus and a tense descent via semi tones to a very harmonic middle eight and also a terrific three bar circular set of chords to end in a hardcore prog style with Stu Perera weaving a web of long delays on his guitar.

6 Velvets MC 5:39

 Clare and I were playing this into shape during our 2020/2021 online live sets. It was pretty fully formed. Its a song about a cult around a rock band. A long dead- but still twitching -  underworld rock band. Their aura so intoxicating that their followers take on all the attitudes suggested by the other brethren. Like being in a motorcycle club.
I play the guitars and the bass and Clare Moore played the drums and the piano. The latter was an overdub we happened onto as we worked the song into shape. Then I added some slide guitar.  It proved to be difficult to mix as to overall volume as we didn't want much compression and it almost ended up as a song in two parts - with two volumes - so the head room for both had to be managed.

Clare Moore and Dave Graney - photo by Ilia Kupriianov

7 We Get Life 3:55

Clare Moore and I worked on this during 2021 and played it in our online shows a few times. This was a song where we both heard the "One" happening in a different spot so we agreed I would start it and wherever Clare came in was it, the spot around which we grooved. I looked upon this as a Chuck berry type of tune. Lyrically, a song about the gift we get - to be in this spectacle and inside our physical carriage for a brief time. The music moves around a slight key change and Clare really brought the chorus and middle eight to life with some piquant harmonies and keyboards. It was difficult to mix and put together so I eventually included an alternate version on the Bandcamp and iTunes version. (The guitars are a bit louder and the vocals doubled and tripled and some rhythmic editing on occasion). 

 8 Now You Must Die 3:27

 We started playing this during our 2020/2021 online shows. Its played in open G tuning. Originally it was to be a vibes and guitar track but one day I asked Clare to play drums on it and I thought I could play the acoustic with a more driving strumming pattern much like "Thats Entertainment" by The Jam. We were going to record two versions but it sounded great as one mix of vibes, guitars and drums. Vibes are always hard to mix when put in amongst so many competing instruments as often whole areas of the sound are obscured. Lyrically it grew out of our shared enjoyment when somebody says "Now you must die!" in spy or thriller movies. One of those things we often say privately when it suits. I thought it could become a thing in offices for people to say under their breath as their overseer walked off after hugging them. Perhaps even on a coffee mug.

9 Where Are You In The Underworld? 3:28

 Also developed during our online show over 2020/2021. Also intended to be recorded in two versions, one with vibes and another with drums. We played it with vibes first and then Clare played a beat, I think we were thinking of a Joy Division feel with loads of toms happening. It sounded great. (We didn't play it for  while and hadn't recorded a demo and Clare forgot the beat but after we talked about a Joy Division feel she was able to get that groove back).  Also difficcult to bring the vibes out in the mix as well as the toms and the vocals.
Lyrically inspired by thoughts of underworld stars and how intense their dark power is. How intense the engagement with their audience, however small. The cosmology of the underworld.

10 We Need Cash, ( She Said) 3:11

 Lots of toms and downstroked guitar chords in the verse with the bass coming in for the chorus was the original arrangement. Stu Thomas and Stuart Perera locked into this straight away. Starts with a  chorus. A series of shifting chords which all share the same three notes but the root note changes. C#, E and F#.
Lyrically inspired by something a friend said on a rare night out in public.
The middle eight and ending have a kind of "grunge era" feel to the chords in their intonations and their attack.

11 Thanks To The Women For Dancing 3:10
Dave Wray on sax, Clare Moore on drums and myself on bass and guitars. This felt like an old school rockabilly tune, something Gene Vincent and the Blue Caps could have cooked up.
A track we have played at a  rehearsal with the mistLY in 2019 but hadn't been able to record. Clare More and I put it down in late 2021 in at Soundpark. A rough arrangement which stayed that way, must have been intuitive. Dave Wray lives up near Lismore and recorded the sax at his home studio.
We have known Dave for many years and met him when he was first doing his Frank Bennett shows. (Fronting  big band playing popular - grunge era- songs and singing in the style of Frank Sinatra) He guested on several tracks on our 1997 album the Devil Drives, as a singer.
Lyrically? Surely you have noticed at clubs all over the world that its the women who always get up to have a dance at live shows. They bring it to life! Thanks you!

Stu Thomas, Dave Graney, Clare Moore, Stuart Perera on the day of recording in the kitchen at Soundpark Studios, Melbourne.

12 You Are The World 5:21

Dave Wray on sax again. I thought of Roxy Music and the Who when  putting this together (just the sax and power chords and pick burns).
Its a simple song saying the world is screwed up and mad but its not my fault, I'm not the world...
We put the backing vocals on in the middle eight and then played something similar with keys on the long tailout. Clare and I were both playing the keyboard and using the tuning wheel to give it it that special wonky feeling all through it. I overdubbed more guitars and then an autoharp and it made a crazy kind of sense.But you know, I'm not the world..

Dave Wray - photo by Bruce Tindale

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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