2024 release of two albums. (strangely)(emotional) and I Passed Through Minor Chord In A Morning.
2023 book THERE HE GOES WITH HIS EYE OUT (lyrics 1980-2023)
2023 reissue Dave Graney and the Coral Snakes Night Of The Wolverine. Double vinyl release.
2023 ROCK album with Clare Moore IN A MISTLY .
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.
We had planned some shows in Perth and Fremantle last week but then I got Covid and then Clare got it too and all the plans went out the window. We are looking at rescheduling the dates soon and May is looking good. Apologies to everybody. We were and are really looking forward to playing in the West.
Clare Moore and I had done a gig at a private party and wore masks when in the room except when performing. As usual, we had our own mics and our own air purifier. Its the second time we've had it and caught it playing at a party the first time! Annoying.
RIP BURT- I was about to yell at the photographer (to quit it) . 1997.
I was able to get the anti virals due to having an underlying lung condition but Clare had to battle the bug cold.
We are now both testing negative.
Anti virals should be freely available to people like musicians who work in public situations.
Adele Pickvance with The Dave Graney Show 1998. Photo Tony Mahony.
Adele
played with us in The Dave Graney Show from 1998 to 2004. We first met
her when she was playing with Robert Forster and she later played in the
latterday Go Betweens. A fantastic player. We look forward to these
dates with Adele as well.
We are endeavouring to play music from In A Mistly
at these shows so we need to make some rock action and drama with bass,
drums and guitar. We will be playing other material from our back
catalogue as well.
Dave Wray aka Frank Bennett - playing sax with us this weekend. He's a mensch!
Dave Wray performed as Frank Bennett in the 90s (and still does occsasionally ) , a Frank Sinatra act. He put out two wonderful albums of contemporary music as sung by FRANK. Five O'Clock Shadow and CASH LANDING. These albums are highly sought after - mainly because they are so great! He appeared on several songs on our last album as Dave Graney and the Coral Snakes, THE DEVIL DRIVES. But he has always been a GREAT SAX PLAYER. He plays on three tracks on In A Mistly and I am really looking forward to these shows this weekend.
1. First concert - The Masters Apprentices Kings Theatre Mt Gambier 1970. (I was an actual kid)
2. Last concert - Unsure. Might have been a Tex Perkins and Matt Walker gig. Or Bob Downe. All were excellent. (I'm in the middleof a lot of touring - see below)
3. Worst concert – seen loads of bad shows. Probably something Jon Spencer was doing.
4. Loudest concert - The Other Side at the Marryatville in Adelaide 79 or 1980. But I liked them and everything Rob Younger does. A great guy. The Flaming Lips at the Palace were loud but they seemed to be all about distracting from their essential emptiness anyway. It didn't work. Probably the loudest I've experienced as a player is a couple of nights playing bass with Harry Howard and Edwina Preston and that was just their raw, powerful singing. It was like being in a fire one night on Smith street. I tried to lie down to get under the sound but there was no escape...
5. Best Concert - again - there have been many... I loved seeing Arthur Lee and Love at the Corner after he got out of gaol and I'd seen him at the Sir George Robey in London just before he went in. Johnny Cash and Glenn Campbell with orchestra at the Albert Hall ( and we were sitting and drinking in a private box a friend had for the night) , Mark Stewart and The Maffia wiping the floor with the Swans in London 1987. The Pop Group in Edinburgh 2016 or so. Every gig I saw of the Boys next Door and then the Birthday Party tours when they were back recording Prayers On Fire and Junkyard. Every gig I've seen Tav Falco do. One of my favourite nights was seeing The Mike Flowers Pops play two sets in a theatre club in London. They were like a crazy big band and did versions of film themes like Cool Hand Luke as well as tv themes and irrreverent swings through pompous hard rock classics. In 1996 we were in London and I saw The Divine Comedy on morning tv and they mentioned a gig they were doing that night so we went along to the then rarely used St Pancras Hall to see them launch their genius album CASANOVA. Neil Hannon was fearless, yet bookish and totally confident yet distant. Perfect.
I saw Jimi Tenor play solo a few years ago in Melbourne and he was great. Always is. One of my fave shows was at the Basement in Sydney in 1998. He had an all female band. Drums, bass and trumpet I think. He played organ and sax. Every A&R guy in Australia was there to see the opening act who were the Avalanches. They were still an instrumental trio ( I mean drums and bass and keys or guitars - no samples involved) and acted up for the occasion. Like an audition. Jimi was brilliant. Always love seeing Matt Walker play and hope to see Margret Roadknight again (even though she says she is retiring) . Greg Walker aka machine Translations was the first person I ever saw using a loop pedal and he did it best because he had such great songs. Always love to see what he is doing. In recent years it has been the venues that acts have chosen that has really inspired the occasion for me. the whole Eastmint Crew and their under the radar art factory with the brilliant On Diamond and Cold Hands Warm Heart. I also saw Leah Senior do a great show there. The Go Betweeens were great in the early 80s in Melbourne and when we all went down to Frankston to play in a hall, fully expecting to die- that was - as the late Chris Farley would have said - awesome! Loved seeing the Cruel Sea dozens of times at different stages in their career- always such a wonderful unit. The Beasts Of Bourbon I saw very early and very late and probably the most human glimpse of them was in London in 1987 or 88 and I'd been away from Australia for a few years. Theyd been in Europeand were doing a London gig for the hell of it at the Borderline in the West End . Black Milk was the album and I think Spencer and Kim both has plaster on their arms or wrists. It was amazing to see what a unit they had become (seeing as they started out as something like an accident or a bunch of opportunities- less than serious anyway) . Always love seeing Jodi Phillis in whatever she does too.
Steely Dan at Rod Laver Arena with Steve Winwood opening (playing a lot of Traffic stuff) was superb.
In the early 2000s Melbourne we used to go see a band called ROOM 101 who were a jazz big band who only played Charles Mingus, that was also always great.
6. Seen the most – probably either Boys Next Door/Birthday Party/Cave/Bad Seeds or The Cruel Sea ( we did two long tours together)
7. Most surprising – Billy Bragg. I was just impressed by how good he was at playing, projecting and presenting and he held your interest for a whole concert. With just an elecctric guitar- no pedals (especially no loop pedal)
8. Happy I got to See – Roky Erikson who had been a strangely influential person on me. Just for his language in his songs more than anything. We were invited by Stewart Lee to play at the last All Tomorrows Parties event and it had a lot of underground heroes on it. Sun Ra Arkestra, Shirley Collins CTMF (!) Roky Erikson, The Raincoats, the Fall, The Nightingales, The Ex, (John Cale pulled out) .
Also glad I got to see James Chance play, and Tim Rose. And Alan Vega in Lausanne , Swizterland in 1990. And David Johansen and Syl Sylvain in Melbourne in 2011. ( Its not my thing but I had to go and say hi to both Alan and David as they'd both been such big influences).
9. Wish I could have seen - The Steve Miller Band, Allman Brothers Band, Grant Green, Wes Montgomery, Davey Graham, The Stones with Jones, Miles Davis at any period, Charlie Parker in a club, Richard Hell And The Voidoids. Wynonie Harris, Bo Diddley. Elvis Presley, Tim Buckley. Lord Buckley.
10. Still need to see - Paul Westerberg.
Tomorrow we fly to Queensland and hook up with Adele Pickvance who will play bass with us and Dave Wray aka Frank Bennett who will play sax at these venues...
We are endeavouring to play music from In A Mistly
at these shows so we need to make some rock action and drama with bass,
drums and guitar. We will be playing other material from our back
catalogue as well.
an excerpt.. “Graney
and Moore have made about 45 albums together, and this is their sixth credited
to Dave Graney and Clare Moore. That is a Slim Dusty-level of dedication to the
craft when you consider the usual shelf life for a recording artist. And the
more I play In
a Mistly, the more I think this is one of the best records they
have ever made".
Then its a trip to Western Australia for the first time in a couple of years where Clare Moore and I will bejoined by Martyn Casey on bass to play the following venues.
We are endeavouring to play music from In A Mistly at these shows so we need to make some rock action and drama with bass, drums and guitar. We will be playing other material from our back catalogue as well.
I made a clip for a track from In A Mistly.Its for VELVETS MC. The song is about a music act being like a club or a gang and people join up, even for a band thats been inactive for many decades. members can take on all the attitudes and live through the narrative of the band. They know what happens.
Stuff like "Maybe this is the Australian condition for many artists: a small
scene that can’t see the true dimensions of its biggest fish; all of us
way too close to appreciate one another properly when we are here for
the long game."
Thanks Mark.
I
was writing about this kind of feeling or sense of a tight and clammy
situation back in 1998 for The Dave Graney Show album on a song called Am I Wearing Something Of Yours?
you don't know what I've been doing
you're too close
you don't know what I've done
I was doin' it to you
you can't know it but I've finished
I've moved on
you don't have enough room
to put me in the picture
am I wearing something of yours?
And again in 2012 on We Need A Champion from You've Been In My Mind.
we need help, someone from outside
someone who can see us
we’re so close
we can’t see each other
we’re knockin’ each other up
we need help
someone from outside
oh we’re blind and full of badness
bad blood, bad sweat
makin’ some bad scenes for the hell of it
we need a champion
we ain't got no slack
we ain't got no scratch
we ain't got no rope
we ain't got no background
we ain't got no time
we ain't got no depth
we ain't got no height
we ain't got no room
we're so close we can't see each other
you don't know what I'm doin'
what if I could do it to you?
whatever it was that you were wantin me to do?
we need a champion
Otherwise, we spent ten days in Sydney over Christmas. It was a bit of a shock to drive up the Hume Highway and be bothered by so many other cars on the same track. I mean, this is usually OUR highway. us and a few dozen truckers. All the service stations were full of families with kids and dogs. Especially the stations with electric vehicle charging stations as the families had to cool their heels for a few hours while their batteries were "filled". This meant that there were a lot of kids high on junk food sugar runing around everywhere. It was horrible!
In Sydney we did what most people did, ate and talked and rested and generally forget about deadlines and projects (if you were me) and read books and watched tv.
I tried several episodes of MAYANS MC which is an offshoot of Sons Of Anarchy. It was pretty dull and turgid stuff. A lot of incredibly fit and ripped tough guys who do nothing but drink beer and smoke cigarettes in between bouts of psychotic violence which is all justified as its about their family. Tedious Yankee shit. Loads of incomprehensible, slow dialogue with these wounded, morose men. I wrote a song about the kind of blinkered silliness in 2014 for FEARFUL WIGGINGS. It was called LOOK INTO MY SHADES. I recorded it quite quickly but feel I need to have another look at it.
look into my shades, babe
travel over the surface
travel those smooth black desert sands
I am mean, babe
I am mean and I have been hurt
I’ve got a right, babe
I’ve got a right to be wrong
it’s not you, babe
it’s nothin’ to do with you
someone is gonna pay, babe
someone is gonna pay
I am gonna lay waste to someone’s little world
I am at war, babe
I'm a man on a mission
I am out to destroy something
anything
I've been wandering the earth, babe
darkness everywhere
devastation, baby
devastation,solitude
it feels so funny to be talking to you
I built myself a surface so wide
no one would ever get around
But otherwise, the favoured holiday viewing was more Murder, She Wrote and Columbo. The latter being annoyingly not on any streaming platforms.
We have also been catching Hip Hop Evolution via Netflix. The early episodes on the pioneering djs and then the MCs was pretty thrilling. Stayed in thatgroove with RUN DMC and then Schooly D and the birth of Gangsta Rap. Lots of regional variation. Ice T still sounding pretty unconvincing to me. Just not a very good - or attractive - voice.
Same goes for Q Tip from the Jungle Brothers. He has a big rep which he carries hard with every word he spoke. Just seemed like a small guy, like some lightweight from the local indie rock world.
Shock G from the Digital Underground was just so human and so likeable. His tears came flooding when he talked of Tupacs descent into rage and madness and then his terrible death. Awful.
Schooly D ruled, as did the Wu.
Still got some episodes to go - maybe even another series. But eventually we will get to the hip hop equivalent of Grunge or New Rock or Oasis or Cold Play or Arcade Fire or the Flaming Lips. I'll have turned it off by then. It was a brilliant planet though.
We also caught the 2022 Bowie film Moonage Daydream. A friend in Sydney played it in her garage onto a large screen and a bunch of us sat in deckchairs.
It was quite a nice mix or edit of noted art movies and images that informed a lot of twentieth century progressive music. Just normal underworld stuff. If you'd been paying attention. Would have been a lot richer if the director had just widened the aperture to include David Bowies actual peers and contemporaries. People like Marc Bolan, Bryan Ferry, Vince Taylor, the Pretty Things, Slade, Scott Walker, Lou Reed, Iggy Pop, Ian Hunter, Mick Jagger, The Legendary Stardust Cowboy, Kraftwek, Syd Barrett, Lulu. The director had also made the Chicago 10 movie which was a fine thing but a little research into that political scene of the late 60s USA showed up a lot of radical women who were also involved in the demonstrations and subsequent trial. The removal of all of them from that films story diminished that too.
Clare Moore and I did this podcast interview late last year. It was for the Unfiltered and Undiscovered Podcast which might give you a clue as to our weird standing in the Australian Music Scene. Some days we are "icons" and "legends" and other days we are yet to be filtered and discovered. As befits that loose but jittery time of year (the end times) it was quite a loopy but fun talk. We didn't expect it to be actually filmed but here's how it turned out.
Leading up to Christmas we completed our 140th Online show.
We then spent a great weekend at my sister Marianne's house in Western Victoria. A couple of days with her and her family. The second time in 2022 we had spent time in a house that had been completely built from scratch by the occupants. Amazing achievements.
In Sydney we went to Mahons Rockpool at Maroubra a couple of times. Apparently there are 35 of these rockpools in Sydney. It was pretty delightful.
I'm still hoping to get my book of lyrics out in the first half of 2023. Its being edited at the moment.
THERE HE GOES WITH HIS EYE OUT Collected lyrics 1980-2023.
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 Bullets3:29
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.
11Thanks 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..
We will be playing some shows outside of our house/studio in early 2023, booking dates at the moment.
TANG – loaded up with TANG tanged to the gills but I ain’t in the water I’m in the TANG – full of TANG a tanker load by the side of the road – a prang TANG – biker grade – wholesale TANG farmgate TANG chop chop TANG TANG burning bright across the screens all through the night all tanged up- nowhere to go the mouth all silted up – closed tanged up in blues a gutfull of TANG not life – not a bite – just a TANG a TANG of life you cant take it anywhere people don’t talk- trade pics and gags words – less – faces – pulled letters dropped out lol scroll on omg msg gee you get my msg lol TANG TANG
Dave Graney and Clare Moore with Georgio "the dove" Valentino and Malcolm Ross
Dave Graney and Clare Moore with Robin Casinader - In Concert
ONE MILLION YEARS DC
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?
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, 12 string set - CDs sold out - digital only
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
