A Farewell to Analternative Icon

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16 ENTERTAINMENT THURSDAY APRIL 11 2019 Stephen Cummings: A farewell to an alternative icon STEPHEN Cummings, long Cummings said he thought “It’s going to be a really in- hailed as one of Australia’s he ought to come back to Dar- teresting musical experience, I greatest ever songwriters, will win one last time “for the heck hope,” he said. grace the stage for his last ever of it”. “I’ll be playing a mixture of show in Darwin this weekend. “I once made a film clip in everything I’ve done over the Cummings plays The Rails Darwin — I feel like I last 40 years — there’ll be in Parap this Saturday night should’ve been there more,” he some really rocking tunes during what will be his final said. mixed in with some incredibly tour, with the inimitable lyri- “But for the price it costs to sad songs.” cist set to give the audience a fly to Darwin I can probably rousing send-off after a career get to America.” Stephen Cummings spanning five decades and 20 For that reason, Cummings When: Saturday, April 13 7pm studio albums. said the show is going to be Where: Darwin Railway Club Cummings will share with worth the journey for both per- Tickets: stickytickets.com.au the crowd his two latest releas- former and punters. es. One is a sample of his life’s work — a box set anthology of 50 songs titled A Life is a Life. The other is his latest album, Prisoner of Love. Stephen Cummings will Rising to fame as front man perform at the Darwin of ’70s new wave band The Railway Club Sports, Cummings came to prominence with a number of hits including the classic, ‘Who Listens to the Radio?’. Cummings then forged an acclaimed solo career with albums such as Senso, Lovetown and A New Kind of Blue — the latter of which won an ARIA for Best Adult Contemporary. His eighth album, Falling Swinger, was included in Aus- tralian Rolling Stone’s list of ‘100 essential Australian albums’. WETWET SEASONSEASON SPECIALSPECIAL a complimentary schooner of EnjoyEnjoy beer with our daily food special! WEDS & THURS MONDAY TUESDAY 300gm Rump Steak BBQ Pork Ribs Chicken Tuesday (Parmi or schnitzel) FRIDAY SAT & SUN All Specials are only $17 and come with chips and salad. Special available from 11:30-2:30pm and 6-9pm Barramundi 300gm Sirloin Steak NTNE01Z01MA - V1.

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Press Release
"This album is the culmination of everything I have learnt so far packed together on one record," says Stephen Cummings of his new album LOVE-O-METER. "It has some slick pop and rock songs and some funky things, not forgetting my trademark twisted bittersweet ballads." Stephen Cummings’ 2004 album, Close Ups was a highlight of his incredible career. It is an acoustic reworking of some of his best known and favourite songs, going right back to his first EP with The Sports. Few artist catalogues have been revisited and reinvigorated with such imagination. Close Ups prompted Stephen to try some different styles and flavours on LOVE-O-METER. The textures are rich with a depth of sentiment that can only be garnered from experience. The Melbourne singer-songwriter first experienced success when his band, The Sports clocked up three platinum albums and broke into the US and UK Top 40 Charts. Since then he has concentrated on solo albums, most of which investigate the complicated pathways of love and contain a terrifyingly high irony quotient. LOVE-O-METER is Stephen's 15th solo album and received a kick-start when Cummings was granted Project Fellowship funding from the Australia Council. LOVE-O-METER charts the course of a romance. "It has a sort of story format to it," Stephen explains. "It's about the idea of romantic love and, you know, lost love and lost love found again and dealing with all the clichés and pitfalls of romance… Originally I wrote and recorded a series of monologues and conversations that linked the songs, but ultimately decided that listeners might find this distracting.” The album starts with "I Need You Tonight", an infectious pop song with a massed fuzz tone and vocals worthy of ELO.
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ANDREW PENDLEBURY Biography
ANDREW PENDLEBURY Biography Frequently cited as one of the finest guitarists in the nation, Andrew Pendlebury has always seemed destined towards a career in music. From age four he studied violin under the auspicious direction of Nathan Gutman, and at an early age played Vivaldi and Bach with the prowess of someone far beyond his tender years. Andrew is the son of two celebrated Australian artists, Laurence Scott Pendlebury and Nornie Gude . It is little wonder that Andrew also possesses a great talent with the brush, and that his sister Anne was encouraged in her career as an actress with stage and TV credits. After leaving school Andrew set about forging a career for himself in the art world. He held a number of successful exhibitions of his impressionist style works, but music still held his attention. Exposed to Django Reinhardt by a friend of his father who was a dance band guitarist in WW2, and excited by the new sounds evolving from players like Jimi Hendrix bursting onto the scene, Andrew began to focus his creative energy into the guitar. Despite his early classical training, Andrew is a self-taught guitarist and he set about creating a voice for himself through the instrument. He was enthused by players like Lenny Breau, Les Paul, James Burton, Jimmy Bryant and Chet Atkins, but like the painter is inspired by other artforms, Andrew also finds inspiration in the work of many styles of music and instruments. He has broad tastes ranging from a great appreciation of trumpet player Miles Davis to his pop sensibilities towards the Rolling Stones and the Beatles.
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Australian Film Productions, 1990-2016
AUSTRALIAN FILM PRODUCTIONS, 1990-2016 TITLE PRODUCTION CO. PRODUCERS SCRIPT DIRECTOR DOP PROD DESIGNER COSTUME DESIGN EDITOR SOUND DESIGN $9.99 * Feature (A) 2007 Sherman Pictures/Lama Amir Harel, Emile Etgar Keret, Tatia Tatia Rosenthal Susan Stitt Melinda Doring Caroline Sherman Dany Cooper Christopher Bowen Productions Ltd Sherman Rosenthal 02:37:00 * Feature 2005 Moon On A Stick Nick Matthews Murali K Thalluri Murali K Thalluri Nick Matthews Jeni Lee Murali K Thalluri, Mark Tschanz Productions Nick Matthews 10 TERRORISTS * Feature Andrea Buck, Dee Dee McLachlan, Dee McLachlan Peter Falk Jill Johanson Sam Davies, Doron Kipen 2011 McLachlan Lenny de Vries Dee McLachlan 100 BLOODY ACRES * Kate Croser, Julie Cameron Cairnes, Cameron Cairnes, Colin John Brawley Tony Cronin Chloe Spalding Joshua Waddell Emma Bortignon Feature 2012 Ryan, Bryce Menzies, Colin Cairnes Cairnes Jonathan Page 1001 NIGHTS * Teleseries 1001 Nights Productions Dan Fill, Frank Andrew Kunzel, Stephen 2016 Pty Ltd Verheggen, Luke Bristow Jurevicius, Melissa Sheldrick 13 GANTRY ROW * Robert Bruning Robert Bruning Tony Morphett Catherine Millar Mark Wareham Michael Bridges Jackline Sassine Mark Perry Chris Neal Telemovie 1998 Productions Pty Ltd 15 AMORE * Feature 1998 MTXM Movies Maurice Murphy, Brooke Maurice Murphy Maurice Murphy John Brock Emma Hamilton Lawes Kate Walker Dana Hughes Carlo Giacco Wilson 1500 STEPS * Feature Peter Cameron, Maurine Maureen Gibbons Josh Reid Daniel Kajardi Kate Bailey Kate Bailey Daniel Kajardi Luke Topic 2012 Gibbons, Josh Reid 2:22
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Seeking an Australian Musical Identity a Personal Perspective by Mandy Stefanakis
FEATURE ARTICLE Seeking an Australian Musical Identity A Personal Perspective by Mandy Stefanakis That there is a great diversity of music composed in Australia Most countries have a definable musical sound in a number is obvious, however identifying a uniquely Australian sound of musical styles. For example George Gershwin, Aaron is much harder. Copland, Duke Ellington and Robert Johnson represent different styles, but all have composed music which is Traditional Aboriginal music defines very purely the lifestyle undeniably American. The Chicago Symphony Orchestra and environment of Aboriginal people. Traditional Aboriginal sounds like an American orchestra, even when it’s playing music has unique instruments. The didgeridoo is unlike any Wagner. And speaking of Wagner, and Bach and Schubert . other instrument on earth both in structure and function. It is . even the new German techno rock, though light years away a perfect vehicle for the expression of the hypnotic, cyclic, from the classics of German composers is still distinctively spacious, rhythmic, spiritual elements of traditional German. Elgar, Vaughan-Williams and The Beatles are Aboriginal culture and habitat. essentially English. The Cranberries and The Chieftains are passionately Irish, Vivaldi and Puccini elaborately Italian and Other Australians have quite diverse heritages and we could also wax lyrical about the unique characteristics of cultures. Many Australian musicians have tried to capture music in Asia, South America and Africa. The explanation for the essence of Australianness, often drawing on the the unique sounds of some of these countries, lies to a certain traditions of Aboriginal music for their inspiration. Some extent in the richness and length of their folk traditions.
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“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago.
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Sample People Music Credits
original rafael score may (cast) Nightclub Band Brown Hornet Music Editor Rafael May Music Consultant Christine Woodruff Original Music Score composed, arranged and produced by Rafael May Vocals in score performed by Inga Liljestrom Trumpet Solos performed by Phil Slater Music mixed by Rafael May and Trent Williamson Additional re-mixing of "Horror Movie" by Rafael May "Howzat" Indian version arranged and produced by Rafael May Vocals performed by Gandhi MacIntyre TAKE A LONG LINE (J. Brewster/R. Brewster/D. Neeson) © 1978 J. Albert & Son Pty Ltd All rights reserved Performed by Grinspoon Grinspoon appears courtesy of Universal Music Australia Pty Ltd THE REAL THING Written by John Young © Chappell Morris Ltd Used by kind permission of Warner/Chappell Music Ltd All rights reserved Performed by Kylie Minogue Produced by Josh Abrahams HORROR MOVIE Written by G. Macainsh (DooDah/Mushroom Music) Performed by Sonic Animation Sonic Animation appears courtesy of Global Recordings Under licence from Festival Records Pty Limited Skyhooks original recording sample courtesy of Mushroom Records Pty Ltd I LIKE IT BOTH WAYS Written by Christopher Burnham/ Joseph Burnham/Randall Murphy/Gary Twinn Published by Warner/Chappell Music Australia Pty Ltd All rights reserved Performed by Not From There Courtesy of Infectious Records/ Mushroom Records International BV DON’T CHANGE (Beers/Farriss/Hutchence/ Farriss/Pengilly/Farriss) Published by Universal Music Publishing Pty Ltd Performed by Magic Number Executive Producer Andrew Farriss Produced, recorded and mixed by Paul Mac and Andy Rantzen at the Fibromajestic Under licence from Festival Records Pty Ltd WHO LISTENS TO THE RADIO Written by Stephen Cummings/ Andrew Pendlebury Published by Warner/Chappell Pty Ltd and Mushroom Music All rights reserved Performed by The Whitlams The Whitlams appear courtesy of Black Yak Phantom and Warner Music Australia Pty Ltd ALONE WITH YOU Written by J.
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Stephen Cummings: FIRECRACKER
Stephen Cummings: FIRECRACKER At its best, music is capable of transformation; unfortunately you would never know this if you happened to flick across your radio dial or switched on your television today. Capitalism, for all its emphasis on the free market, actually hates competition and diversity. So, when there's nothing happening in pop, people get more interested in traditional or folk music, and given the disengaged state of today's pop industry, it's hardly surprising that I found myself this past year listening to stuff like Elvis Presley, Ricky Nelson, Alan Vega and Muddy Waters. Music that is wild ragged melodramatic melodic, unpredictable and joyous. With "Firecracker" I decided to indulge myself in these essential ingredients." - Stephen Cummings Firecracker is Stephen Cummings' thirteenth, repeat thirteenth solo album. But we're not superstitious and Cummings' thirteenth turns out to be as essential as any of his other twelve. Musically, Stephen has always preferred to go his own inimitable way and, in doing so, has surprised, exasperated, delighted and captivated critics and fans alike for the past twenty odd years. This tenacious approach has made SC's music vibrant, ardent and relevant for all this time. There's no sad cabaret to be heard in these parts. While his last couple of releases have been outstanding collections of songs of a largely downbeat nature, a definite change of tack is shown with this new CD. Stephen decided it was time to cut loose a little, kick up his heels and have some fun. The Firecracker songs were chosen from a clutch of 25 written in a six week creative bender and, stylistically, they hark back to pre-Sports days with the Pelaco Brothers, when guitars twanged and singers crooned or hiccuped straight to the heart songs in the key of love or thereabouts.
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Chapter 4 Clubland 1962-1972
Chapter 4 Clubland 1962-1972 From 1957 into the early 1960s, Johnny O'Keefe, Col Joye, Johnny Devlin, Johnny Rebb, Alan Dale and Lonnie Lee had provided proudly masculine templates of local success. O'Keefe and Joye also revealed considerable entrepreneurial skills in establishing managerial empires based upon their live circuit, radio and television popularity. Upon establishing responsive local environments, both managed many of the second wave of performers. This chapter examines the growth in Sydney's licensed clubs, and their concurrent interest in rock and roll as a lucrative form of entertainment. As identified in the development of the hotel and club circuits, this required a refinement of the 'unruly' rock and roll aesthetic evident in the previous chapter. The belief in more 'melodic' recording arrangements, and performers' incorporation into older notions of club entertainment signified a break with the more hysterical constructions of the music in the 50s. However, an examination of the Sydney surf club circuit in the mid-60s reveals a brief resurrection of earlier rock and roll beliefs. The surf club battles between 'surfies' and 'rockers' present an interesting precedent to the mods-rockers clashes in Britain. Moreover, echoes of earlier town hall/ballroom battles are evidenced in concerns founded upon generational differences regarding civic duty, and teens' contributions in constructions of community. While rock and roll displayed an increasing professionalism by promoters and performers, portrayals of 'wild' youth persisted as powerful discursive devices of social control. An important context of 1960s leisure is provided in the transfer of State government from Labor to the Liberal Party in 1965.
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Melbourne for a Song August 3-9, 2005
August 3–9, 2005 Rediscover sex after CHILDBIRTH How kids cope with TRAGEDY melbourne for a songMark Seymour and other musicians reveal their inspirations KENZIE C MARIO BORG STEPHEN M STEPHEN songs from the ForFor decades, Melbourne has labelled itself the musicalmusical hubhub southof Australia, and its local songwriters admit to an intense spiritual affi nity with their hometown, writes Debbie Kruger FRED KROH WAYNE TAYLOR WAYNE Clockwise from top left: Russell Morris, Mark Seymour, Stephen Cummings and Deborah Conway coverstory Melbourne. Living with his family in Mont Albert, he In Australian popular music, writes spasmodically. Mark Seymour After a childhood in country Melbourne has played a starring role. More than any other “I’ll go on a binge”, he says. A mainstay on the touring Victoria, Mark Seymour studied at Melbourne University city, the sense of Melbourne as a character, not just a place, circuit for decades, he is writing more confi dently now but and took up teaching before dedicating himself to a full- has been palpable. In my book, Songwriters Speak, understands that his audiences largely come for the time music career. Hunters and Collectors, the quintessential I interviewed 45 of Australia and New Zealand’s greatest nostalgia factor – particularly when he performs with pub rock band, provided music for the urban populace. It tunesmiths, and found that Melbourne songwriters had the fellow Melburnians Jim Keays and Darryl Cotton. New was diffi cult for Seymour’s staunch intellectual parents to closest affi nity with their hometown. songs rarely get an airing. accept the path he chose, but he shrugs off any suggestion The city’s moods, its citizens, its suburbs and its climate Asked which song he’d most like to be remembered for, that the intensity he was so well-known for as the Hunters’ pervade the lyrics of some of our best-known songs, and he replies: “The next one I’m going to write.” leading man was because of an intellectual background.
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Stephen Cummings: SPIRITUAL BUM
Stephen Cummings: SPIRITUAL BUM "It's really the thing of the song and the singer ..." Stephen Cummings releases his first new album in three years, Spiritual Bum, on July 26. Featuring collaborations with Ashley Naylor from Even, and Shane O'Mara and Rebecca Barnard from Rebecca's Empire, Spiritual Bum includes songs destined to be hailed as Cummings classics, including Wishing Machine, Sad To Go, The Half Light, Nobody Ever Could Ever Feel This Way and Straight To Your Arms. "My last two records, with Steve Kilbey producing (1996's Escapist and 1994's Falling Swinger), were all atmospheres and soundscapes," Stephen says. "I wanted all that to change with this record. "I really wanted to make more of an acoustic record. Simple and to the point. It's really the thing of the song and the singer, In-your-face and immediate, but also warm." The Sydney Morning Herald once said: "If the world were a fair place and artists were rewarded in accordance with their abilities, Stephen Cummings would be a rich and famous man." Who knows where Spiritual Bum will land. But on it, Stephen sings: "I'm filled with a crazy kind of hope" and declares: "I'm gonna buy me a wishing machine/ Everything's worth a try". With a new label and new management (and a new novel, Stay Away From Lightning Girl, to be released in August), could this be a new start for Stephen Cummings, who made his major recording debut 21 years ago? "Yeah, it could be." The best records are something like a knock on the door.
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Exhibition Catalogue
www.sl.nsw.gov.au WHAT A LIFE! ROCK PHOTOGRAPHY BY TONY MOTT :: 1 State Library of NSW Printer: Peachy Print Curator: Louise Tegart Thanks to Tony Mott, Toby Creswell Macquarie Street Clinton Walker, Tim Rogers, Paper: KW Doggetts Maine Recycled Creative Producer: Karen Hall Sydney NSW 2000 Missy Higgins, Jenny and Gloss 130 gsm 60% recycled and Telephone (02) 9273 1414 Exhibition Designers: Margaret Cott, Kasey Chambers Envirocare 70 gsm 100% recycled www.sl.nsw.gov.au Jemima Woo and Karen Wong and Paul Mac Print run: 12,000 A free exhibition Graphic Designer: Simon Leong Above: Tony Mott 2014 at the State Library of NSW P&D-4535-10/2015 © Graham Jepson from 17 October 2015 Editor: Cathy Perkins All images unless otherwise noted to 7 February 2016 ISBN 0 7313 7228 X Illustrator: Ben Brown (front cover) are courtesy and © Tony Mott © State Library of New South Wales Exhibition opening hours: Creative Producer, Multimedia: October 2015 Weekdays 9 am to 5 pm Sabrina Organo Thursdays until 8 pm Back cover: Chrissy Amphlett, Divinyls 1983 Weekends 10 am to 5 pm Senior Conservator, This is the first photo I ever sold. Without Exhibitions & Loans: Helen Casey Chrissy, I wouldn’t have a career. I sort of stalked her with my camera to learn the art Follow us on Registrar: Caroline Lorentz of rock photography. What a pleasure and #RockMoments @statelibrarynsw pain it was. — TM 2 :: WHAT A LIFE! ROCK PHOTOGRAPHY BY TONY MOTT www.sl.nsw.gov.au www.sl.nsw.gov.au WHAT A LIFE! ROCK PHOTOGRAPHY BY TONY MOTT :: 3 Björk 1994 One of my most published images, this What a Life! photo of Björk was taken at the Big Day Out in 1994.
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CCC 7.0 600 Songs, 1.5 Days, 4.37 GB
Page 1 of 11 CCC 7.0 600 songs, 1.5 days, 4.37 GB Name Time Album Artist 1 Decibel 3:34 Black Ice AC/DC 2 Indigo FM Alive - music comfort you (with intro) 4:39 adrian clark 3 Sweet Emotion 3:13 Devil's Got A New Disguise: The Very Best Of Aerosmith Aerosmith 4 Guantanamera 4:05 Afrocubismo AfroCubism 5 Frontier Lullaby 4:43 Frontier Lullaby Alesa Lajana 6 Wild Rivers 4:34 Frontier Lullaby Alesa Lajana 7 Downtown 4:45 Watching Angels Mend Alex Lloyd 8 A Woman's Worth 5:03 Songs In A Minor Alicia Keys 9 Don't Want You No More 2:27 Playlist Plus The Allman Brothers Band 10 Lovely Day (Bonus Track) 4:02 This Is All Yours alt-J 11 Jewels Are Just Lumps 3:44 triple j Unearthed Alyx Dennison 12 Rehab 3:31 2007 Amy Winehouse 13 Comin' Down 3:19 Greatest Hits The Angels 14 The Beast 3:50 A Book Like This Angus & Julia Stone 15 Bella 4:05 A Book Like This Angus & Julia Stone 16 Blue Rose (Featuring Sarina Walter, James Ryan & Jesse Mar… 4:43 These Walls - EP Anna Cordell 17 These Walls (Featuring Sarina Walter, James Ryan & Jesse M… 5:02 These Walls - EP Anna Cordell 18 Rebellion (Lies) 5:13 1001 Songs Before You Die Disc2 Arcade Fire 19 Until You Were Gone 3:09 Soul Sister Aretha Franklin 20 Dangerous Woman 3:56 Ariana Grande Ariana Grande 21 Into You (Audio) 4:05 Ariana Grande Ariana Grande 22 Worm-Turning Blues 2:57 Boogie! Australian Blues, R&B And Heavy Rock From The '7… Ariel 23 God Will Get His Man 3:37 Armistice - EP Armistice 24 The Cage 4:15 The Cage Art Of Sleeping 25 King and Cross 3:33 In the Silence Ásgeir 26 Burn Baby Burn 3:14 Music
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