DOCSLIB.ORG

Stephen Cummings: FIRECRACKER

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. A fine cast of musicians was assembled, initially in (one time Pelaco Brother) Joe Camilleri's Woodstock Studio. Once the basic tracks were done activities shifted to Shane O'Mara's Yikesville Studio in the Melbourne suburb of Yarraville, interestingly enough the suburb Stephen was brought up in. In the engine-room, we have Peter Luscombe and Peter Jones on twin drumkits and long time cohort Bill McDonald on bass. Snout's Ross McLennan plays some Juno synth strings and supplies perky backing vocals and Rebecca Barnard also makes an appearance or two on B.V.s. It has to be said that this is much more a guitar record than Stephen's done for some time. Fittingly, the guitar lineup cuts across three generations and must be one of the best to appear on one record in recent years. Shane O'Mara played acoustic rhythm on an ancient Maton and his trademark melodic riffing on electric guitar is all over the Firecracker grooves. One of the bona fide legends of Australian music, Ross Hannaford of Daddy Cool, puts his own stamp of genius on several tracks, throwing in a couple of classic Hannaford solos and that funky rhythm only Ross can do. Bringing us right up to date is Chris Cheney from The Living End, a Stephen fan from way back who jumped at the chance to play on the record. Chris plays some searing guitar that's instantly memorable and reminds us that what goes around comes around. The quality of the songwriting combined with Stephen's peerless vocals and the talents of these singular musicians results in an explosive synthesis of rockabilly structure and sixties rock and country intensity with a modern sensibility. This is not a mere exercise in nostalgia - it's another essential chapter in the musical life story of Stephen Cummings. .
Load more

Recommended publications
  • THE RETRIEVER WEEKLY NEWS May 8, 2001 Ehind the Scenes
    THE ETRIEVER "Procrastination gives you something to look forward to."- Joan Konner, Journalist Volume XXXV, Number 28 1000 Hilltop Circle, Baltimore, MD 21250 · May 8, 2001 Cone Collection Version 2.0 Baltimore Museum of Art and UMBC Visual Arts Department Develop Virtual Tour of Exhibit SARAH ANDREWS Retriever Weekly Editorial Staff ing with newly designed galleries ing to Alan Price, associate direc­ and expanded exhibition space. tor of the IRC, was the extent of The Baltimore Museum of Claribel and Etta Cone began research that had to be done to Art's famed Cone Collection their collecting career in the recreate the apartments. The received a technological upgrade 1890s, and eventually acquired building had been gutted in the recently, thanks to an ongoing hundreds of works by such artists 1970s, forcing the team to tum to collaboration with UMBC's as Renoir, Manet, Cezanne, the building's original floor plans Imaging Research Center. Degas and Matisse. Today the and over 30 photographs of the Through internships with the Cone Collection, containing over apartment to guide them in recre­ IRC, which is part of the Visual 500 works by Henri Matisse ating the rooms. The team spent Arts department, artistically and alone, is considered one of the six months recreating the apart­ technically-minded students have most important in the world. ments' details, even creating digi­ had the chance to flex their cre­ Now, through real-time computer tal images of the artwork and fur­ ative and technical muscles by animation developed by the niture in the rooms. Museum vis­ designing a virtual tour of the UMBC team, museum visitors itors will be able to look out the Cone sisters' art-filled Baltimore can explore a virtual re-creation virtual windows and see a recre­ apartments.
    [Show full text]
  • Thrice Joe Bonamassa · Shooter Jennings · Clutch · Monster Truck Intro
    JOE BONAMASSA HENRIK FREISCHLADER PANTERA GREEN DAY mit King Bee Shakedown BAND Rat Race Carousel This Love American Idiot ORIGINALSONG ORIGINALSONG GUITAR-CLASSIC SONGS CD Heft Nr. 221 Ausgabe 10/2018 das magazin für gitarristen und bassisten F 41248 B TRAUMHAFTER SOUND SLASH über Ton, Songs & Les Pauls 50 JAHRE UND NOCH IMMER FRISCH Die wichtigsten Gitarrenalben 1968 RIFFS & LICKS Zakk Wylde & Mick Ronson VOX MVX150 Flaggschiff mit Verlosung neuem Antrieb LTD EC-1000 Fluence HÖFNER NATURAL SERIES Nackte Klassiker nicht nur für Ökos! 8,10 L: l 12,00 8,10 SFR B: l CH: l 7,90 A: 9,50 I: l 6,90 9,50 E: D: IM INTERVIEW + INTERVIEWS THRICE JOE BONAMASSA · SHOOTER JENNINGS · CLUTCH · MONSTER TRUCK INTRO HANDMADE GUITARS Wenn die Seele strippt a hat der gute Charly ja mal Clarke (guitar 3/18) – ich bin noch richtig einen vorgelegt! Der im Nachhinein von mir selbst ge- überaus geschätzte Kollege rührt! mit den stets passenden Ganz offenbar lege ich praktisch Schlussworten fasst das Le- Monat für Monat meine Seele in des ben eines echten Bluesers Lesers Hand und habe es bisher auf Seite 146 dermaßen nicht einmal bemerkt. Und in dieser treffend zusammen, dass Ausgabe geht der Seelenstrip gar Dmir beim Lesen nicht nur vor noch weiter – nun ist die Unterwä- echtem Mitgefühl die Tränen nur sche dran. Soll heißen: In die Liste so über die Bäckchen gelaufen sind, son- der wichtigsten Gitarrenalben, die vor 50 Jah- dern dass er mich damit doch tatsächlich in ren in die Läden kamen (ab Seite 58), ist einzig Zugzwang bringt – nach dem Muster: Der und alleine mein ganz persönliches Herzblut Mann gewährt den Lesern einen tiefen Ein- geflossen.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Slim Jim Phantom Has Secured His Place As a True Rock-N-Roll Icon. As the Legendary Drummer for the Stray Cats, Phantom, Alongsi
    Slim Jim Phantom has secured his place as a true rock-n-roll icon. As the legendary drummer for the Stray Cats, Phantom, alongside band mates Brian Setzer and Lee Rocker, spearheaded the neo-rockabilly movement of the early 80s. With a love for 50s rock-n-roll the Stray Cats took inspiration from that bygone era and mixed with their youthful energy and aggression produced the updated hard-edged rockabilly sound that saw them conquer London, Europe and later the U.S., gaining fans among the likes of Keith Richards, Mick Jagger and Robert Plant along the way. Born in the Brooklyn Borough of New York City, Jim grew up listening to his parents’ jazz records and by the age of ten took up the drums. Immersing himself in the art of drumming and the world of music, Jim took lessons with Mousie Alexander (who played with Benny Goodman), which included the study of jazz and working through books by Jim Chapin and Ted Reed. By the late 70s Jim was playing in bands with school friend and bassist Lee Rocker and they soon joined forces with guitarist Brian Setzer. The rest, as they say, is history. The Stray Cats had numerous hit singles in the early 1980s, their classic album “Built for Speed” went double platinum, and their song “Rock This Town” is in the Rock and Roll Hall of Fame’s list of “The Songs That Shaped Rock and Roll.” Summer 2008 saw Jim and the Stray Cats reunite for an extensive tour of Europe. In February 2009 the band headed to Australia and New Zealand for the first time in 18 years - a tour which was eagerly anticipated by Australasian fans.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • “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.
    [Show full text]
  • 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.
    [Show full text]
  • Vsa Newsletter -Nov 2018
    E M P O W E R I N G V O I C E S V S A M O N T H L Y S I N C E 1 9 9 3 VSA NEWS N O V E M B E R 2 0 1 8 N E W S L E T T E R STARTING SINGING? THEN, READ THIS BLOG! B Y P E T E R V O X F E A T U R E D A R T I C L E DO YOU WANT TO SING FOR FUN AND IMPROVE YOUR SINGING VOICE, BUT DO NOT KNOW WHERE TO BEGIN? WELL, START WHERE YOU ARE! YOU MUST LIKE MUSIC, FIRST AND FOREMOST, AND YOU MAY HAVE SUNG ALONG TO SOME OF YOUR FAVOURITE SONGS BEFORE? Pick a couple of your favourite songs – songs that you want to enjoy singing. If you enjoy something, you’re going to want to do it more often, you’ll improve quickly. It will become your passion, and won’t feel like a chore. So, learn the songs from back to front, print the lyrics out. Sing along with your favourite artist, and then sing along with the backing track. Follow your passion, and bring fun and excitement to your singing! Do not limit yourself with one genre. Be in bluegrass, rock, musical theatre, metal, RnB, classical, hip-hop, folk, trap, or whatever other genres were popular in the past and will emerge in the future — find what YOU like to sing! If you haven’t had singing lessons yet, here are a couple of tips to use at home: · Watch what your mouth is doing.
    [Show full text]
  • 20081101-Synk.Pdf
    Synk Magazine aims to promote and develop the skills of people under the age of 25. If you're a young writer, photographer, artist, designer… we want your soul. If you feel you can contribute to Synk, visit: www.synkmagazine.com.au By reading the above you automatically agree to give us your soul, any and all assets, any siblings and your firstborn child. Furthermore, you agree to rescue the princess regardless of which castle said princess is in. From this date, your internal organs become our exclusive property, we reserve the right to patent any and all technologies you may develop and/ or pioneer and we reserve the right to take credit for any and all achievements you make in your life including, but not limited to, being the parents of above firstborn and any subsequent children, liberating before said princess from the castle and saving the human race from an alien menace and/or authoritarian dictatorship. If you are concerned that any of your rights are being infringed upon by the above statement, please forward your concerns to Baron McRae: [email protected]. Artwork by EMMA FERGUSON Artwork by LACHLAN CLARKE exogenbreach.deviantart.com Contributors synk 1 Welcome to our issue five, staying alive... It’s been a year! A whole frigging year! You all thought we’d go under but we Contents showed you fuckers. ‘Another street press in Melbourne? No way! The other highly Writers: Photography: reputable street presses will eat you idiots alive.’ Bah! We laughed in the face of that The Hives _______________ 2 Duane Jackson Smith Luke Kellett beast and it looks like it paid off.
    [Show full text]
  • A Farewell to Analternative Icon
    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?’.
    [Show full text]